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Elisa Koehler A Beginners Guide to the Baroque Natural Trumpet(Mar 02/16)

Trumpet players in the 17th and 18th centuriesenjoyed an exalted status socially as well as musically.Poets lauded their artistry and painters captured theirlikenesses on canvas. Even today, we marvel at thegreat Baroque soloists like Girolamo Fantini, GottfriedReiche, and Valentine Snow, who tamed the valvelessnatural trumpet and made it sing in the stratosphere.Thanks to the brilliant work of trumpeters such asEdward Tarr, Friedemann Immer, and Don Smithers,the technique of playing the natural trumpet is not themystery it once was. The work of conductors such asJohn Eliot Gardiner, Paul McCreesh, and TonKoopman has similarly done much to popularize andpromote the performance of early music on historicinstruments.

A quick glance at the bibliography for this articlewill prove that publications devoted to the seriousstudy of the Baroque trumpet have mushroomed in thepast two decades. Most notably, Edward Tarrs land-mark three-volume method, The Art of BaroqueTrumpet Playing, appeared in 1999-2000. Recentadvances in scholarship, instrument construction, andpedagogy have created a veritable renaissance for theBaroque natural trumpet. Never before has informa-tion on playing historic instruments been as accessibleas it is today. My purpose in this article is to consoli-date resources and information that might be usefulfor any trumpeter who wants to study the naturaltrumpet, but doesnt quite know where to begin.

Benefits of Studying the Valveless Trumpet

Trumpeters who learn to play a valveless Baroqueinstrument enjoy a host of benefits. They not onlydevelop a new awareness of the trumpets regal her-itage, but they improve their overall musicianship andtechnique on the modern trumpet as well. Playing thenatural trumpet forces a musician to focus on thebasics of sound production and fundamental tech-niques such as flexibility, range, note accuracy, articu-lation, embouchure strength, and breath control.1

Perhaps the greatest benefit is the enhancement of a

players aural skills. Since the natural trumpetrequires pinpoint accuracy in the slippery upper reach-es of the overtone series, the ability to hear intervalsand pitch relationships is paramount. Like the humanvoice and unfretted string instruments, the naturaltrumpet is essentially a blind instrument that relieson expert ear training for successful performance.

Those accustomed to performing Baroque music onthe piccolo trumpet particularly benefit from learningto play the natural trumpet. They gain invaluableinsights into appropriate Baroque phrasing and artic-ulation as well as the unique personalities of the nat-ural trumpets registers (principale, middle, and clari-no). Although the somewhat homogenized sound of thepiccolo trumpet is unable to reproduce the naturaltrumpets ethereal clarino or the characteristic earthi-ness of its low register, acquaintance with an authen-tic sound ideal enriches any musicians performance.

Issues of Authenticity

One of the first steps on the road to playing theBaroque trumpet is the acquisition of a suitable instru-ment. This can be a daunting process for the unin-formed. Modern builders of historic brass instrumentsusually model their trumpets after historic makers,such as Ehe, Haas, and Bull, and it is important tounderstand the differences between these models.2

Photos of several historic trumpets appear in the firsttwo volumes of Tarrs Art of Baroque Trumpet Playingalong with photos of modern reproductions. The defin-itive work on the subject is Robert Barclays Art of theTrumpet-Maker. This book concerns the history of theNuremberg trumpet-makers of the 17th and 18th cen-turies and includes step-by-step instructions for build-ing a trumpet.3 Understanding the basics of historicinstrument construction gives the trumpeter a fund ofknowledge from which to make an informed purchase.

Before going one step further down the path topurchasing an instrument, issues of authenticity mustbe confronted. Because the natural trumpet can onlyproduce notes of the harmonic overtone series, some of

16 ITG Journal / March 2002

A Beginners Guide to the BaroqueNatural Trumpet

BY ELISA KOEHLER

2002 International Trumpet Guild

Fig. 1. The harmonic overtone series in C. These notes are all playable by a natural trumpet. Darkened notes indicate partials thatare out of tune.

2002 International Trumpet Guild

the pitches, or partials, are inherently out of tune. Themost problematic partials are the 11th (F) and the 13th(A). The 11th partial is too sharp for F and too flat forF-sharp while the 13th partial renders a rather flat A.See Fig. 1.

Trumpet players in the seventeenth and eigh-teenth centuries corrected these intonation problemsby lipping, or note bending.4 This technique was alsoapplied to occasional non-harmonic tones such as B-natural (by lowering the 8th partial), C-sharp (by low-ering the 9th partial), and F-sharp (by raising thenotorious 11th partial). Around 1960, Otto Steinkopfdevised a system of three vent holes for a naturaltrumpet built by the German maker Helmut Finkethat rendered the fickle 11th and 13th partials in tune.Steinkopf was also a pioneer in the revival of theRenaissance cornetto and he perhaps found inspira-tion for the vent hole system from his experience withthat hybrid wind instrument.5 Later, the British trum-peter Michael Laird devised a four-hole system thatincreased the stability of many pitches and offeredadditional solutions to intonation problems.6 Althoughvent holes made the natural trumpet safer to play,they altered the sound slightly. The resulting compro-mise instruments would not have been used by trum-peters 300 years ago and could hardly be called nat-ural. In an attempt to clarify terms for these instru-ments, it is becoming accepted practice to refer totrumpets without holes as genuine natural trumpetsand to label vented instruments as Baroque trumpets.

With this in mind, it must be emphasized that theuse of vent holes is only a modern convenience, but itis often deemed necessary for professional players.Performing on an instrument without the vent holesystem pays dividends in terms of authenticity andsound, but it presents a daunting challenge when mod-ern audiences expect flawless intonation in equal tem-perament and pinpoint accuracy. Although the numberof musicians who play the Baroque trumpet exclusive-ly has risen sharply in recent years, the vent hole sys-tem is favored by professional trumpeters who primar-ily play the modern trumpet because the technique ofplaying a vented trumpet is more secure.

Using an appropriate mouthpiece is another con-sideration when approaching the natural trumpet.Most players get started by using their modern mouth-pieces with natural trumpets, but an adapter is usual-ly needed to fit the shank into the larger leadpipe.Authentic Baroque mouthpieces possess a wider cupdiameter, larger, flatter rims, a sharper bite, and alonger, thicker shank. The longer shank encases atapered backbore that compensates for the lack oftaper in the leadpipe. These dimensions affect thesound and facilitate the practice of lipping. A shallow-er mouthpiece does not necessarily aid high registerplaying due to the expanded dimensions of the naturaltrumpet.

The selection of a mouthpiece is a highly personal

issue, but players should seek to balance concerns ofcomfort with those of authenticity. A musician justbeginning to play the natural trumpet may prefer touse his or her familiar modern mouthpiece at first andthen switch to an authentic mouthpiece once acquaint-ed with the feel of the instrument. Some makers pro-vide instruments with tapered leadpipes that acceptmodern mouthpieces, but many do not.7 See Fig. 2.Although some professional players occasionally usemodern mouthpieces, such compromises are made forenhanced security in the service of an historically

informed performance.Historians rightfully contend that the use of vent

holes, tapered leadpipes, and modern mouthpieces bor-ders on the heretical, but quibbling over equipment isnot the primary concern of the beginning naturaltrumpet player. All musicians should begin by playinga natural, unvented trumpet with a familiar mouth-piece. Like any style tradition, the conflict betweentheory and practice in the 20th century Baroquerevival rages on, and these issues must be confrontedwhen a player purchases a professional instrumentand seeks to perform in public.8 Any musician embark-ing on the study of the natural trumpet must respectauthentic performance practices and strive to servethem as closely as possible. An instrument with ventholes does improve accuracy, but the added securitycan lead to overblowing and inappropriately harsharticulations if aesthetic standards are not observed,especially in the early learning stages.

Finding an Instrument

The Historic Brass Society is the best source ofinformation about current makers of natural trumpetsand authentic mouthpieces. The most recent compila-tion of makers was published in the Summer 2001Historic Brass Society Newsletter.9

The purpose of this article is not to recommendspecific brands of instruments; however, a sampling ofcurrent makers includes Robert Barclay (Ottawa),Rainer Egger (Switzerland), Keavy & Vanryne(Reading), Ewald Meinl (Germany), Andrew Naumann

March 2002 / ITG Journal 17

Fig. 2. A natural trumpet by Andrew Tomes (UK) pitched in D(modern pitch) compromised with a tapered leadpipe and ventholes. An adapter for a modern mouthpiece and tapered tuningbit may also be used with this trumpet. With these additions, theinstrument should be labeled as a Baroque trumpet and not as anatural trumpet. This instrument is a modern reproduction of atrumpet built by the Nuremberg maker, Johann Leonard Ehe III, in1746.

(USA), Frank Tomes (London), and Geert Jan van derHeide (Netherlands).The authoritative source of infor-mation on the Internet is David Baums NaturalTrumpet Resource Web S i te , l o ca ted a thttp://www.goucher.edu/physics/baum/nattrump.htm10;this site includes links to information on currentBaroque trumpet makers, scholars, study programs,and performers.

Used natural trumpets occasionally appear at pro-fessional music stores and Internet auction sites, suchas eBay. Although it is possible to build a naturaltrumpet out of parts of discarded modern B-flat trum-pets, it is a challenge to accurately replicate the dimen-sions of an authentic instrument this way.11

Homemade natural trumpets are useful for startingout, but a professional-quality instrument will be nec-essary for serious study.

Most natural trumpets come with sections thatmay be assembled to render an instrument playable ina number of different keys. These sections are the cor-pus (main body of the trumpet), crooks (curved tuningslides), and yards (pipes with or without vent holesthat connect the crook to the corpus). It is important tonote that these sections are not soldered together andare freely adjustable to improve intonation and flexi-bility. See Fig. 3. Instruments may also come withleadpipe extensions for tuning purposes called bits.See Figs. 4 & 6. Some modern compromise instru-ments come with an adjustable leadpipe to facilitatetuning. Depending on the maker, natural trumpets areusually available in the keys of D (modern pitch,A=400 Hz), Db (Baroque pitch, A=415 Hz), C (modernpitch), and Cb (Baroque pitch C). Fig. 5, shows a trum-pet pitched in D (modern pitch) with crooks and yards

in Db, C, and Cb, respectively. Once the decision is made to purchase a natural

trumpet from a professional maker, there are manyconsiderations to be factored into the final selection.The box below lists some of the factors to considerwhen selecting an instrument. As with any trumpet,price and playability determine most purchase deci-sions, but care must be taken to select an instrumentthat boasts a high degree of historic authenticity.Purists rightfully contend that no valveless trumpetemploying vent holes is authentic, but other factorssuch as bell size, metal alloy, and workmanship may befaithfully reproduced on modern compromise instru-ments.

Material for Study

Until very recently, beginning study material forthe natural trumpet was not readily available. There isno shortage of Baroque literature. The great works ofBach and Handel, however, are hardly appropriate for

18 ITG Journal / March 2002 2002 International Trumpet Guild

Fig. 3. A natural trumpet pitched in D (modern pitch) by AndrewNaumann (USA) dissembled to show how the corpus, tuningslide, and yard fit together. A wooden block wrapped in cordserves as a brace and provides a suitable hand grip for the trum-pet. This modern reproduction of an instrument by Ehe featurestwo 20th century additions: an adjustable leadpipe and anAmado water key.

Fig. 4. A natural trumpet by Frank Tomes (UK) pitched in D (mod-ern pitch) with additional crooks, shanks, and tuning bits for thekeys of B-flat, C, and D which is playable in modern pitch(A=440), and Baroque pitch (A= 415).

Fig. 5. A trumpet by Andrew Naumann (USA) pitched in D(modern pitch) with additional crooks and yards with vent holesfor the keys of Db, C, and Cb.

anyone just starting to play the instrument. With thepublication of Edward Tarrs new method in 1999, TheArt of Baroque Trumpet Playing, trumpeters finallyreceived a wonderful source of beginning exercises,repertoire, and advice for learning to tame the naturaltrumpet from a 20th century perspective.12 Before thepublication of Tarrs method, those desiring to studythe natural trumpet gleaned exercises from historicmethods like those of Fantini (1638), Altenburg (1795),and Dauverne (1857), and traveled to study with greatteachers like Friedemann Immer, Michael Laird, orEdward Tarr himself.

No book can replace the guidance of a good teacher,but Tarrs method presents an overview of all theimportant historic methods (Bendinelli, Fantini,Altenburg, etc.) and their exercises along with his ownpractice material. Valuable information on practicetechniques, ensemble intonation, and the proper exe-cution of trills is also included. Tarrs method does notdiscuss vent hole systems, but everything else related

to natural trumpet study can be found within its threevolumes. Those interested in learning to use the venthole system will find useful information in MichaelLairds BrassWorkBook for Natural Trumpet.13

Although it is certainly possible to gain a workingknowledge of the valveless trumpet from these finebooks, it is vital to seek out the tutelage of a profes-sional natural trumpet player, especially in the earlystages.

Once a working fundamental technique is withinreach, a wealth of literature awaits the natural trum-peter. Thanks to the pioneering work of Edward Tarr,Ludwig Gttler, and others, reliable printed editions ofBaroque trumpet repertoire are readily available. Inthe realm of orchestral and ensemble repertoire, it isadvisable to begin with the works of Henry Purcellbefore moving on to the music of Handel and Bach.Purcells works do not pose the same challenges interms of endurance and range, and are usually scoredfor two trumpets. Pieces like the Ode on St. CeciliasDay and The Fairy Queen, with their egalitarian partwriting and playful, imitative passages, providerewarding practice material for two natural trum-peters working together. Purcells complete trumpetmusic, as well as the music of Bach and Handel, is pub-lished in collected editions by Musica Rara. This reper-toire belongs in every trumpeters library.

One of the major challenges in ensemble playing isintonation, and this problem is compounded by theunequal temperament of the harmonic overtone seriesproduced by natural trumpets. With that in mind, awelcome reprieve from the isolation of the practiceroom may be found in playing ensemble literature as asection with fellow Baroque trumpet enthusiasts, ifpossible.14 When approaching the major works of Bachand Handel it is beneficial to begin by playing thelower parts before moving up into the clarino registerand the solo arias. In the realm of solo literature,Purcells works are a good starting point. Other suit-able solo pieces for the beginning natural trumpeterare the sonatas for trumpet and organ by Fantini andViviani, and the suites in D major by Handel andJeremiah Clarke.

Beginning to Play

When trumpeters approach a valveless instrumentfor the first time, they are often unsure of quite how tohold a natural trumpet. Depending on the maker andtype of instrument, the natural trumpet is usually heldprimarily with the left hand, like the modern trumpet.There is often an ornamental ball (sometimes calledthe boss) or a brace made of a wooden block wrappedwith cord that serves as a suitable handgrip. The righthand grasps the parallel tubing on the other side of thetrumpet or just simply hangs at the players side. If theinstrument employs the vent hole system, the righthand would then manipulate the holes.15 The mannerof holding a long natural trumpet may take consider-

2002 International Trumpet Guild March 2002 / ITG Journal 19

What to Consider WhenPurchasing a Natural Trumpet

Historic Models Which historic model does the maker follow?

(Ehe, Haas, Bull, etc.)

MouthpieceDoes the maker offer a selection of Baroque

mouthpieces? Will a modern trumpet mouthpiece fit into the

leadpipe or will an adapter be needed?

Keys & PitchIn which key(s) is the trumpet pitched? (C, D,

Cb, Db, Bb, etc.)

Vent Holes or No HolesDoes the trumpet come with yards with vent

holes? Are yards without holes also available?

Tuning AidsAre tuning bits or an adjustable leadpipe avail-

able for the trumpet?

CaseIs a case available? If not, an alto trombone gig

bag is a good fit for the natural trumpet. Apadded camera tripod bag is another option.Additional padded storage for crooks, yards, andmouthpieces will also need to be improvised formost cases and bags.

The British company, Brass Bags, manufac-tures custom natural trumpet gig bags(home.clara.net/weswarren/more4.htm).

able adjustment for the new player. Although theinstrument is much lighter than the modern trumpet,the longer arm extension and stretched hand positioncan be fatiguing at first. As with any new skill, shortpractice sessions on a regular basis are advisable toavoid overuse injuries and undue strain.

Once a workable posture has been found, the play-er can concentrate on making music. One thing thatwill strike any musician during the first few encoun-ters with the natural trumpet is that it will notbehave! New players often experience a sense of dis-orientation caused by the lower fundamental of thenatural trumpets harmonic series, the unequal tem-perament of those harmonics, and the response of alonger, untapered leadpipe. Careful practice with theaid of an electronic tuner helps to clarify referencepitches and, with time, the ear, the lungs, and theembouchure remember the physical reflexes thataccompany specific intervals and patterns. Even themost accomplished modern trumpeter will need tospend some extended time working on basic triadicexercises in the low register to develop an acquain-tance with the feel of the natural trumpet.

It must be emphasized that vent holes should notbe used when first learning to play the Baroque trum-pet. Most of the initial work will be in the principaleregister with pitches that would not benefit from nodalventing, and it is important for the player to becomefamiliar with the unique characteristics of the naturaltrumpet. Musicians must resist the impulse to cor-rect the out-of-tune notes in order to play in equaltemperament. Once given the permission to blowfreely, players will discover that the natural trumpet isfar more flexible and resonant when youre not bat-tling nature, so to speak. Exploring the natural ten-dencies of the overtone series yields insights that aidfuture intonation work, such as the pronounced flatterpitch of the lower register, the relative stability of thetonic triad (C, E, and G), and the malleability of the7th, 11th, and 13th partials (B-flat, F+/-, and A).

Following an honest appraisal of the pitch tenden-cies of the natural trumpet, the real work begins.Careful practice on long tones, flexibility studies likethose of Schlossberg and Irons, and target practice onisolated pitches builds a strong foundation for a reli-able technique. The studies found in the first volume ofTarrs method, the natural trumpet exercises ofDauverne, and the warm-ups in LairdsBrassWorkBook for the Natural Trumpet are highlyrecommended. Trumpeters familiar with JamesStamps note bending exercises and Carmine Carusosendurance routines will find that these studies areespecially beneficial for learning lipping technique anddeveloping strength and accuracy on the natural trum-pet.

If a player wishes to learn the vent hole system,the proper positioning of the yard with the holes isessential. A good way to check the positioning of the

vented yard with the system is by playing the open C5(3rd space C, or C'') and the G above, and compare thetuning with the last hole covered and then open again.If the vented yard is positioned correctly, the pitcheswill match when played with the hole open and as wellas closed. If the open-hole C or G does not match theclosed-hole C or G, the yard should be adjusted backand forth to find the proper placement. Depending onthe particular design of the instrument, the back-bow(tuning slide closest to the mouthpiece) and the lead-pipe (or tuning bits) may need to be adjusted to ensureproper yard positioning and tuning.

Incidentally, vent holes are not numbered uniform-ly by all makers. The numbering system used byMichael Laird, the creator of the four-hole system, isbased on the fingers used to manipulate the holes (e.g.T, 2, 3, 5) rather than their sequential order (1, 2, 3,4).16 Lairds numbering system works as follows: T=thumb (the first hole), 2 = index finger (the secondhole), 3 = 2nd or 3rd finger (the third hole), and 5 =pinky, or little finger (the fourth hole). The three-holesystem is similar, but omits the third hole (e.g. T, 2, 5)from the previous list. The stretch of the hand requiredby the four-hole system is often uncomfortable at first,and the woodwind-like fingering technique can berather disorienting for players accustomed to pistonvalves. Initial fingering technique should focus pri-marily on using the thumb to adjust the 11th partial Fand then build from there.

On a more practical note, the manner of emptyingexcess moisture from the natural trumpet alsodeserves comment. Some makers include Amado waterkeys on their instruments, but this is not always thecase, and historic instruments certainly did not havethem. The best method to use is very similar to that ofthe French horn; turn the trumpet end over end andallow the water to drip out of the leadpipe. WithBaroque trumpets with vent holes, the water can sim-ply escape through the thumb hole.

Ideas for Serious Study

If a musician seeks to play the natural trumpetprofessionally, it is important to seek out a reputableteacher and devote considerable energy to perfecting areliable technique, studying appropriate performancepractice, building range, and learning the repertoire.

It should be remembered that trumpeters in the17th and 18th centuries usually studied the instru-ment in a two-year apprenticeship which ofteninvolved daily lessons with a master teacher. If thevent hole system is used, dedicated work on fingeringtechnique is also required. Listening to recordings ofBaroque trumpet soloists and period instrument per-formances is especially important. Attending live per-formances is even better. A good source of informationon active early instrument groups is the PeriodInstrument Performing Ensemble [PIPE] web page(http://gfhandel.org/bleissa/pipe/). The site lists infor-

20 ITG Journal / March 2002 2002 International Trumpet Guild

mation on groups all over the world and includes per-formance schedules, when available.

Aside from the physical challenges of playing thevalveless trumpet, the study of appropriate Baroqueperformance style should be an ever-present task. Theprimary differences between modern performance tra-ditions and those of the 17th and 18th centuries con-cern intonation, improvisation and ornamentation,articulation (especially unequal tonguing patterns), aheightened emphasis on strong vs. weak beats, and amore bel canto sound ideal.17 Luckily, several good ref-erences have recently been published that providesound advice for those new to Baroque performance. In1999, Cambridge University Press instituted a newseries devoted to performance practice, CambridgeHandbooks to the Historical Performance of Music. Thefirst volume in this series, The Historical Performanceof Music: An Introduction, by Colin Lawson and RobinStowell, delivers precisely what its title offers: a valu-able overview of the major issues involved in perform-ing early music.18 Similarly, Doningtons classicBaroque Music: Style and Performance. A Handbook isa fertile source of information.

Although modern research is useful, there is nosubstitute 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. AlthoughFantini and Alternburg provide enlightening com-ments on articulation, ornamentation, and trills, per-haps the most useful source of information on Baroquemusic performance was written by a flutist who alsoplayed the trumpet, Johann Joachim Quantz.19

Quantzs early training as a town musician requiredhim to acquire passable proficiency on a variety ofinstruments and, in addition to the flute, he was anaccomplished violinist and oboist as well.Consequently, Quantzs treatise is a veritable goldmine of information on all aspects of musical perfor-mance in the first half of the 18th century.

Many professional valveless trumpeters today takea page out of Quantzs book and double on the cornet-to, the premier wind instrument of the Renaissance.This not only presents new repertoire, but it empha-sizes the subtle articulations and phrasing of earlyBaroque wind playing. It is beyond the scope of thisarticle to discuss cornetto playing, but the curious willfind a wealth of knowledge in Jeremy Wests excellentmethod book, How to Play the Cornett.20 Wests book isavailable along with inexpensive resin cornetti on hisweb site (www.jeremywest.co.uk). Since the cornetto isa hybrid instrument that requires a trumpetembouchure and woodwind fingering technique, it isadvisable to spend some time studying the recorderbefore approaching the cornetto.21 Soprano (descant)recorders are readily available and provide an enjoy-able break from trumpet playing with the instruments

relaxed embouchure and gentler airflow. Recorder fin-gerings are not identical to those of the cornetto, butthe fingering technique is the same, and the switchfrom recorder to cornetto is not difficult for trumpetplayers accustomed to transposing. Finally, since thehuman voice was (and remains) the model for all windinstruments, taking private voice lessons furtherenhances the musicianship of any instrumentalist.

Back to the Future

Playing the valveless trumpet and other earlybrass instruments clarifies the artistic heritage ofbrass playing and demonstrates that the fundamen-tals of good trumpet playing are timeless.Furthermore, the rapid rise in the performance ofearly music on period instruments is a cultural phe-nomenon that has impacted performances on moderninstruments in addition to invigorating classicalmusic-making in general. The cultural historianJacques Barzun wisely observes that:

The recent interest in playing old music with theinstruments of its own day has shown the difference itmakes not merely in dynamics but in meaning. Theabsence of certain timbres and the presence of othersaffect the force and the atmosphere of the passage anddispose of the idea that a note is a note whether playedon the kettledrum or the ocarina. Also of our time, theretreat from the 19C orchestra and the popularity ofchamber music, partly due to economic reasons, havearisen from the feeling that Romanticist passion ispass.22

A topic that most definitely is not pass is the con-troversy over the use of vent holes on the naturaltrumpet. The battle between purists and practitionershas at times created a rancorous partisan atmosphere.Brilliant scholars such as Robert Barclay object stren-uously to the use of vent holes, while great artists likeMichael Laird have furthered the art and built audi-ences for the Baroque trumpet by employing vent holesin countless fine performances and recordings. SeeFigs. 5 & 6). Although the purists rightfully voice theconscience of authenticity, the overwhelming majority

2002 International Trumpet Guild March 2002 / ITG Journal 21

Fig. 6. A trumpet by Frank Tomes (UK) pitched in D (Baroquepitch) compromised with a tapered leadpipe and vent holesalong with crooks and vented yards to render the instrumentplayable in the key of C in both modern pitch (A=440), andBaroque pitch (A=415). With the use of tuning bits and addi-tional vented yards (not pictured) the trumpet is also playable inClassical pitch (A=430).

of professional Baroque trumpeters currently playvented instruments. Advocates of authentic perfor-mance traditions, though are beginning to gainmomentum.

Perhaps the best approach to adopt for a trum-peter new to the world of historic performance is one ofhumility and curiosity. We live in what I believe is anew golden age of trumpet playing. Ever since I firstheard Edward Tarrs early recordings, I have been fas-cinated by the regal beauty of the natural trumpet, buthad no way to find an instrument or learn how to playone. Now things have changed. The Historic BrassSociety was founded in 1989, and has encouraged moretrumpeters to play the natural trumpet. The firstInternational Altenburg Competition for BaroqueTrumpet Soloists was held in 1995, and the second tookplace in November 2001. Playing the natural trumpetrequires great discipline and strength, but its enor-mous dividends are well worth the effort. If you are oneof those musicians who has always wanted to play thenatural trumpet, but never thought it was possible, Isincerely hope that this article has provided usefulinformation you can use to make your dream a reality.

All photographs courtesy of Elisa Koehler.

Bibliography

Historic Methods

Altenburg, Johann Ernst. Essay on an Introduction tothe Heroic and Musical Trumpeters and Kettle-drummers Art [1795]. Translated by Edward H. Tarr,Nashville: 1974.

Bendinelli, Cesare. The Entire Art of Trumpet Playing[1614]. Translation and Critical Commentary byEdward H. Tarr, Nashville: The Brass Press, 1975.

Dauvern, Franois Georges Auguste. Mthode pour latrompette [1857]. Paris: Editions I.M.D. Diffusion,1991.

Dauvern, Franois Georges Auguste. Mthode pour latrompette [1857]. Complete English Translation byGaetan Chenier, Ruby Miller Orval, Rebecca Pike, andJeffrey Snedeker, Historic Brass Society Journal 3(1991): 179-261.

Fantini, Girolamo. Method for Learning to Play theTrumpet [1638]. Translation and Critical Commentaryby Edward H. Tarr, Nashville: The Brass Press, 1975.

Fantini, Girolamo. Modo per Imparare a sonare ditromba [1638]. Facsimile, Nashville: The Brass Press,1978.

Fantini, Girolamo. Modo per Imparare a sonare di

tromba [1638]. Edited by Igino Conforzi, Bologna: UtOrpheus Edizioni, 1998.

Quantz, Johann Joachim. On Playing the Flute [1752].Second Edition. Translated with notes and an intro-duction by Edward R. Reilly, Boston: NortheasternUniversity Press, 2001.

Study Material

Bach, J. S. Complete Trumpet Repertoire. ThreeVolumes. Edited by Ludwig Gttler, Monteux: MusicaRara, 1971.

Blmel, Christian, ed. Original Duets from OldTrumpet Methods. Kln: Mark Tezak Verlag, 1985.

Handel, G. F. Complete Trumpet Repertoire. FourVolumes. Edited by Robert Minter, Monteux: MusicaRara, 1974.

Laird, Michael. BrassWorkBook for Natural Trumpet.Essex: BrassWorks, 1999.

Plunkett, Paul. Technical and Musical Studies for theBaroque Trumpet. Herrenberg-Kuppingen: Musikver-lag Spaeth/Schmid, 1995.

Purcell, Henry. Complete Trumpet Repertoire. Editedby John King, Monteux: Musica Rara, 1975.

Tarr, Edward H. The Art of Baroque Trumpet Playing,Vol. I: Basic Exercises. Mainz: Schott, 1999.

Tarr, Edward H. The Art of Baroque Trumpet Playing,Vol. II: Method of Ensemble Playing. Mainz: Schott,2000.

Tarr, Edward H. The Art of Baroque Trumpet Playing,Vol. III: A Beautiful Bouquet of the Finest Fanfares.Mainz: Schott, 2000

Books and Articles

Baines, Anthony. Brass Instruments: Their History andDevelopment. London: Faber, 1980.

Barclay, Robert. The Art of the Trumpet-Maker. Oxford:Oxford University Press, 1992.

Barclay, Robert. A New Species of Trumpet: TheVented Trumpet in Context. Historic Brass SocietyJournal 10 (1998), 1.

Barzun, Jacques. From Dawn to Decadence: 500 Yearsof Western Cultural Life. New York: HarperCollins,2000.

Collins, Tim. So, How Many Holes is a BaroqueTrumpet Supposed to Have? Historic Brass SocietyNewsletter Issue 9 (Summer 1996): 11-15.

22 ITG Journal / March 2002 2002 International Trumpet Guild

2002 International Trumpet Guild March 2002 / ITG Journal 23

Donington, Robert. Baroque Music: Style andPerformance. A Handbook. New York: Norton, 1982.

Herbert, Trevor and John Wallace, ed. The CambridgeCompanion to Brass Instruments. Cambridge: Cam-bridge University Press, 1997.

Lawson, Colin and Robin Stowell. Historical Perfor-mance of Music: An Introduction. Cambridge: Cam-bridge University Press, 1999.

Menke, Werner. History of the Trumpet of Bach andHandel. Translated by Gerald Abraham, Nashville:The Brass Press, 1985.

Nussbaum, Jeffrey. A Survey of Baroque TrumpetMakers Worldwide. Historic Brass Society NewsletterIssue 14 (Summer 2001): 12-19.

Owens, Frank J. Creating a High School BaroqueTrumpet Ensemble. M.M. thesis, Towson University,2000.

Smithers, Don L. The Music and History of theBaroque Trumpet before 1721. 2nd ed. Carbondale andEdwardsville: Southern Illinois University Press,1988.

Smithers, Don and Klause Wolgran and John Bowsher,Playing the Baroque Trumpet. Scientific American,Vol. 254, No. 4, April 1986, 105-108.

Tarr, Edward H. The Trumpet. Translated by S. E.Plank and Edward Tarr, Portland: Amadeus Press,1988.

West, Jeremy with Susan Smith. How to Play theCornett. London: JW Publications, 1997.

Web Sites

The Historic Brass Societyhttp://www.historicbrass.org

The Natural Trumpet Resource Web Sitehttp://www.goucher.edu/physics/baum/nattrump.htm

The Natural Trumpet Discussion Listhttp://groups.yahoo.com/group/naturaltrumpet

The Period Instrument Performance Ensembles [PIPE]Web Pagehttp://gfhandel.org/bleissa/pipe/

Oberlin Baroque Performance Institutehttp://www.oberlin.edu/con/summer/bpi/

Trumpets by Rainer Egger www.eggerinstruments.ch/home.htm

Trumpets by Andrew Naumannhttp://members.aol.com/andrewn26/index.html

Christopher Monk Instruments www.jeremywest.co.uk/cmi.html

About the Author: Elisa Koehler is the Director ofOrchestral Activities and Trumpet Instructor atGoucher College in Baltimore, Maryland, and theArtistic Director/Conductor of the Frederick Orchestrain Frederick, Maryland. Koehler performs with theLyric Brass Quintet, the Handel Choir of Baltimore,and the Orchestra of the 17th Century. Dr. Koehlerholds degrees from the Peabody Conservatory and theUniversity of Tennessee, and has studied at theOberlin Baroque Performance Institute. The authorthanks the following for their kind assistance: DavidBaum, Stanley Curtis, Kris Engle, Flora Newberry,Frank Owens, and John Thiessen.

Endnotes

1 Frank J. Owens. Creating a High SchoolBaroque Trumpet Ensemble (M.M. thesis,Towson University, 2000), 5 8.

2 Daniel J. Leavitt. The Trumpet Workbook.Teachers Guide. (Aurora, CO: West Wind MusicCompany, 1996), 83. Leavitt wisely refers hisreaders to the Historic Brass Society for moreinformation and advises that they become veryfamiliar with the various manufacturers of thepast and the history of mechanical inventions.

3 Robert Barclay, The Art of the Trumpet-Maker(Oxford: Oxford University Press, 1992), 9. Bar-clay has also led annual summer workshops alongwith Richard Seraphinoff in which participantsspend an entire week following the proceduresoutlined in his book to build authentic naturaltrumpets (without vent holes) that they takehome with them at the end of the week. The costof the workshop is usually less than half the costof a new instrument. For more information onthese workshops, consult the link for RobertBarclay on David Baums Natural TrumpetResource Web Site , which is located at :http://www.goucher.edu/physics/baum/nattrump.htm

4 Edward Tarr, The Trumpet (Portland: AmadeusPress, 1988), 11-14 and 85-90.

5 Anthony Baines, Woodwind Instruments andTheir History, 3rd ed. (Mineola, NY: Dover, 1991),262.

6 Edward H. Tarr, The trumpet before 1800 inThe Cambridge Companion to Brass Instrumentsed. Trevor Herbert and John Wallace (Cambridge:Cambridge University Press, 1997), 100-101. TheSteinkopf-Finke trumpet was a coiled trumpetpatterned after the Jdgertrompete held by

24 ITG Journal / March 2002 2002 International Trumpet Guild

Gottfried Reiche in his famous portrait painted byE. G. Haussmann. Michael Lairds four-hole sys-tem was employed on a traditional long, single-folded trumpet.

7 One such maker is Keavy & Vanryne (Reading,England).

8 Tim Collins, So, How Many Holes is a BaroqueTrumpet Supposed to Have? Historic BrassSociety Newsletter Issue 9 (Summer 1996), 11-15.See also Robert Barclay, A New Species ofTrumpet: The Vented Trumpet in Context. His-toric Brass Society Journal 10 (1998), 1.

9 Jeffrey Nussbaum, A Survey of Baroque TrumpetMakers Worldwide. Historic Brass Society News-letter Issue 14 (Summer 2001), 12-19.

10 Dave Baum is a Professor of Physics at GoucherCollege and builds his own trumpets. I am indebt-ed to Dr. Baum for his enthusiastic support of myefforts in learning to play the natural trumpetand for his inspirational devotion to the instru-ment.

11 Owens, Creating a High School Baroque Trum-pet Ensemble, 9-21. Frank Owens provides adetailed description of the procedure he followedfor building natural trumpets this way. Infor-mation on authentic 18th-century procedure isfound in Barclays Art of the Trumpet Maker, 102-168.

12 Paul Plunketts book, Technical and MusicalStudies for the Baroque Trumpet, published byMusikverlag Spaeth/Schmid in 1995, was the firstmodern method for the natural trumpet, but itslength (32 pages) and coverage are certainly noton the same scale as Tarrs 3-volume work. Thebook often refers the reader to exercises inDauvernes method and so works well as a com-panion to that book.

13 Michael Laird, BrassWorkBook for NaturalTrumpet. (Essex: BrassWorks 1999) 5, 9-14, 20.Lairds book also includes an appendix byCrispian Steele-Perkins that lists instrumentmakers.

14 Edward H. Tarr. The Art of Baroque TrumpetPlaying, Vol. II: Method of Ensemble Playing.(Mainz: Schott, 2000). This volume includes valu-able resultant tone intonation exercises for twoand three trumpets along with a wealth of litera-ture and helpful text. The third volume of Tarrsmethod, A Beautiful Bouquet of the FinestFanfares, provides more fine ensemble literature.

15 Musicians who play authentic natural trumpetswithout vent holes sometimes strike a dramaticpose with their right hands on their hips to high-light this technique.

16 Laird, BrassWorkBook for Natural Trumpet, 5, 9.

17 Edward H. Tarr, The trumpet before 1800 inThe Cambridge Companion to Brass Instrumentsed. Trevor Herbert and John Wallace (Cambridge:Cambridge University Press, 1997), 96-98.Musicians interested in a total immersionapproach to Baroque performance practice mayattend the two-week Baroque PerformanceInstitute at Oberlin College (web addresshttp://www.oberlin.edu/con/summer/bpi/) held eachsummer. Master classes in natural trumpet areoffered as well as classes in ornamentation,Baroque dance, and most other period instru-ments.

18 Colin Lawson and Robin Stowell. HistoricalPerformance of Music: An Introduction. (Cam-bridge: Cambridge University Press, 1999).

19 Johann Joachim Quantz. On Playing the Flute[1752]. Second Edition. Translated with notes andan introduction by Edward R. Reilly (Boston:Northeastern University Press, 2001), xii-xiii, 27.Quantz was skilled enough on the trumpet toreceive offers for professional positions followinghis apprenticeship.

20 Jeremy West with Susan Smith. How to Play theCornett. (London: JW Publications, 1997).

21 The Trapp Family Singers. Enjoy Your Recorder.(Sharon, CT: Magnamusic Distributors, 1954).Since the soprano (descant) recorder is often usedas a tool for rudimentary music education, manybeginning recorder methods cover material at tooslow a pace for the trained musician. That is notthe case with this excellent method by theAustrian musical family of The Sound of Musicfame. Although the soprano recorder is popularwith students, the alto (treble) recorder pitched inF is the authentic solo recorder favored byBaroque composers. For example, the solo flautodolce part in Bachs Brandenburg Concerto No. 2was written for the alto recorder.

22 Jacques Barzun. From Dawn to Decadence: 500Years of Western Cultural Life. (New York:HarperCollins, 2000), 547.