L Journal of the

International Trumpet Guild

Volume 2 Stephen L.. Clover, Editor October, 1977

Table of Contents
,
3 Torelli’s Trumpet Music: A Structural Analysis by Eugene Enrico
23 More on the Shore Family by Edgar M. Tucrentine
25 A Videofluorographic Study of the Teeth Aperture, Instrument Pivot and Tongue Arch .’
and Their Influence on Trumpet Performance by A. Keith Amstutz
26 Bach Arias for Trumpet by David Baldwin
29 The 1977 ITG Conference by H. M. Lewis
36 Elements in Jazz Conception by George *L. Hitt
37 The Incompetent Palate: A Trumpeting Disaster by David G. Dibbell, M.D.
i
38 Book Reviews, Kim Dunnick, Editor
41 Music Reviews, Norbert Carnovale, Editor
46 Record Reviews, David R. Hickman, Editor
47 ITG Survey Report
48 A List df Brass Dissertations 1976-1977 by Stephen L. Glover ’

1977-1979 Officers
President: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
Vice President: Edward H. Tarr, Oberer Rheinweg 71, CH-4058 Basel, Switzerland
Secretary: Donald Bullock, Department of Music, Western Michigan University, Kalamazoo, MI 49001
Treasurer: ,Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676
Past President: Lloyd Geisler, 3444 North George Mason Drive, Arlington, VA 22207
’ Board of Directors
David Baldwin, Charles Cohn, Louis Davidson; Timofei Dokshitzer, Bernie Glow, Charles Gorham,
Knud Hovaldt, Clifford Lillya, Robert Nagel, Carole Reinhart, Susan Slaughter, Don Smithers,
Roger Voisin .,. .”.
, : ”
ITG Journal & Newsletter Staff
Editor: Stephen L. Clover, 28 17 Acklen Avenue, Nashville, TN 37212 _
Assistant Editors: .,
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Associate Editors:
Artist-Members Section: Dennis L. Horton, Music DepartmentCentral Michigan University, Mt. Pleasant, M,I 48859
Book Review’s:.Kim Dunnick’; Music Department, Tennessee Tech University, Cookeville, TN 38501
Jazz Editor: George Hitt, Music Department, University of Minnesota, Duluth, MN 55812
Music Reviews: Norbert Carnovale. Music Department, University of Southern Mississippi, Hattiesburg, MS 39401
Recent Programs: Richard J. Perkins, Music Dept., Anoka-Ramsey Comm. College, Coon Rapids, MN 55433
Record Revietis: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
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The ITG Journal is an official publication of the International Trumpet Guild. ISSN: 0363-2845.
@ Copyright 1977 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.

Torelli’s Trumpet Music:
A Structural Analysis
by Eugene Enrico
More than half of the entire corpus of music for trumpet and
orchestra preserved in the Archivio di San Petronio was composed
by Torelli, and among Torelli’s own compositions preserved in
manuscript? more than half are trumpet works. Although Torelli
maintained a stylistic continuity with such earlier composers as
Maurizio Cazzati, Giovanni Bononcini. Petronio Franceschini,
and Domenico Gabrielli: all of whom composed works for trumpet
and orchestra, his productivity, combined with his musical crafts-
manship and imagination, brought the tradition of Bolognese
trumpet music to its height. Torelli expanded the scope of the
earlier trumpet pieces by exploring new approaches to the internal
structure of the movements, and by fully exploiting the large
orchestras assembled for festive occasions in San Petronio.
The sequence of movements employed in the thirty-three trum-
pet works is shown in the Appendix along with the tempo, meter,
length, and instrumentation of each movement. Although each
significant change of tempo is listed separately, the several sec-
tions of each work are by no means of equal weight. Most of the
slow sections are merely brief transitions between the more exten-
sive fast movements. In several instances, moreover, Torelli omits
the double bar between sections, and may well intend that no
pause should be taken. The temporal sections have been grouped
into fewer, but longer, movements in several of the works. The
five sections of D.VI.6 and D.VIII. I, for instance, have been
grouped into three larger movements: fast, slow-fast-slow, and
fast. In D.VI.1, for example, the five movements are grouped:
fast-slow, fast-slow, fast; whereas in the printed work. the five
sections are grouped: fast, slow, fast-slow, fast. Still another exam-
ple is provided by D.VI.5, in which the six sections are grouped:
slow-fast, slow-fast-slow, fast.
Though the sections are grouped into many temporal combina-
tions, the plan of movements encountered most frequently among
the trumpet works is a five-section design, arranged: fast-slow-fast-
slow-fast. The first and last movements of this sequence usually
are scored for one or two trumpets (or trumpets and oboes).
strings. and continua; whereas the middle three movements
normally are set for strings and continua alone. The two slow
movements, which normally encompass only a few measures.
frame a central movement, usually scored for one or more solo
violins with continua, and set at a faster tempo.
This five-movement model is occasionally altered by the addi-
tion of extra movements. The most common mutation of the
design involves the addition of a slow introductory movement
before the five-movement sequence.’ In othei works2 a pair of
dance movements are appended at the end of the five-movement
sequence. One piece, D.IX.3, begins with a slow introductory
movement, continues with the five-movement model, and ends
with a pair of dance movements.
Another common design includes three movements, arranged
fast-slow-fast. As in the five-movement design, the outer move-
ments are scored for one, two, or four trumpets (or trumpets a;id
oboes), strings, and continua; while the slow movement usually
is set for strings and continua alone. Still another plan, used in
D.VI.3 and D.X.16, is the four movement sequence: slow-fast-
slow-fast. In both instances of this design, which was the arche-
typal sonata da chiesa form in the works of Corelli, the slow move-
@ Copyright 1971 by Eugene Enrico. Used by perrnlsslon.
ments are scored for strings and continua, whereas the orchestra
is augmented to include trumpets in the fast movements.
Tonality and the Concerted Principle
Two musical principles are central to the trumpet works of
Torelli and to late Baroque concertos in general. The works were
conceived within the resources and restrictions of established
tonality; furthermore, they derive both their formal structure and
their vitality from an imaginative use of the concerted principle.
The principle of organizing pitch around a central note as the
focal point of a tonal system crystallized in Italian music during
the late seventeenth century, although much music from earlier
periods was largely tonal in its organization. Within this newly
crystallized system of tonality, the various triadic combinations of
the diatonic scale existed in a hierarchical relationship to a central
tonic triad. The position of the various diatonic triads in the tonal
hierarchy was determined by the degree of attraction to the tonal
center. The degree of attraction was directly related to the dis-
tance of a chord from the tonic, measured according to the posi-
tion of the chord within a hypothetical “circle of fifths.“3 A se-
quence of diatonic triads counter-clockwise around some portion
of the circle of fifths, toward the tonic. became the most pervasive
harmonic formula of the late Baroque. Composers were able to
generate either tension or release by frustrating or affirming the
tonal gravitation toward the tonic: and by prolonging the tension
bred by tonal frustration, composers were able to expand the
length of their compositions.
Torelli uses tonality to provide his works with structural cohe-
sion on at least two levels. On a lower level, he constructs indivi-
dual movements over a tonal framework. The fast movements
generally begin and end in the same key, but display various
internal tonal deviations, which amplify both the length and the
tension of the movements.4 Although the brief slow movements
are frequently ambiguous in tonality, they nevertheless fulfill a
tonal function: either by modulating from one tonal level to
another, or by acting as non-tonal interruptions within a larger
plan of clearly defined tonal levels. On this higher level, Torelli
posits the outer movements in the central key of D major (except
for D.1X.I. in which the key is C). In the interior niovements, he
frequently emphasizes other tonal levels, such as the dominant.
the mediant. or the submediant. These areas of contrasting
tonality enliven the sound of D major when it returns in the final
movement.
Another concept, essential for an understanding of Torelli’s
trumpet works, is the concerted principle, or the rivalry between
two separate musical forces. Torelli employs this principle of com-
petition in many different ways. In all of the trumpet works, he
establishes a rivalry between solo and full ensemble. The polarity
is occasionally between instruments of similar timbre, as when
one or more solo violins are pitted against the full string section.
More frequently. however, the polarity is between instruments of
contrasting timbre: one or more trumpets against the string
orchestra. When oboes are included, Torelli achieves a three-way
rivalry in timbre.
In several of the works, such as D.VI.5, D.VII.1. D.IX.2. and
D.IX.3, a competition is established between two full orchestras,
which probably were placed on opposite sides of the cantoria
during performances in San Petronio. An even more unusual
polarity is established in the first and last movements of D.VII.5,
in which the lower strings compete with the violins. A similar
rivalry in register is used in the final movement of D.VIII.5.
Torelli uses the concerted principle as a generator of form on
two different levels. Primarily, he establishes a competition be-
tween two forces, or between several pairs of forces. to increase
both the tension and the length of individual movements. espe- Fig. 23 - Measure.s.I,y6 of.the.finai AUegrq.of 9. VI. 8.
cially those set at a fast tempo. On a larger scale, Torelli employs
the presence or absence of the concerted principle to help dif-
ferentiate between the movements qr secGonP,of a single compo-
sition. In the five-movement design, the first, third, and fifth
movements generally employ vivid contrasts of timbre; whereas
the intervening slow movements are nearly devoid of the con-
certed principle. In one interesting composition (D.V1.5), how-
ever, an opposite schemti is employed. While the outer movtitients
employ the usual rivalry between solo trumpet and,string orches-
tra. the three middle sections exploit the even more spectacular
combat of two separate string orchestras.
Most of the movements may be placed into categories according
to instrumentation, tempo, and character. The several categories
of movements include: (I) fast movements for the entire orches-
tra. including trumpet(s), or trum’pets and oboes;‘(2),slow move-
ments. with and without trumpet, (3) fast .movements for strings
alone, often with one or more solo violins; (4) f&t movements for
trumpet solo? cello solo, and-continue: and (S),brief binary move-
ments.

The Fast Movements with Trumpets

The longest and most complex movements encointered among
the trumpet works are the. fast movements set for. the entire
orchestra, including one or more trumpets, and in eight works, a
pair of oboes. These spectacular movements serve as the opening
and closing sections of most ,of the compositions.
The design of these movements is generated by a combination Fig. 26 - The IWO trumpet parts of measures 21-23 of the first
of two elements: conflict and, symmetry. Of these elements. movement of D. VII.1.
conflict is the musical principle that contributes most to structure:
and in the fast movements. with trumpets, Torelli establishes sev-
eral different points of conflict, some of which arise from the con-
certed principle of conili.cting performing forces.

Conflict of Performing Forces

Although many of Torclli’s printed works for string ensemble ‘In the.eight works that include a pair of oboes? Torelli achieves
have been dubbed “orchestral concertos” or “concerto-sinfonias”S a three-way cohflict in timbre among trumpets, oboes, and strings.
because of the absence of alternation between solo and tutti Most frequently. the pair of oboes. like the pair of trumpets, is
forces. all of his trumpet works establish a polarity between trum- treated as a sin’gle pqrforming force. often with the same rhythmic
pet solo and orchestral tiitti. An important structural aspqct of a11 material progressing in parallel thirds. In the’ fi;st movement bf
of the fast movements with trumpets is the alternation of brief D.VIll.5, however. the conflict of the three timbres is extended by
solo and tutti passages. Only a core of continua instruments plays an internal competition within each of the three conflicting forces.
continuously throughout these movements. Figure 17 illustrates that the two trumpets are in limited comp&-
In some of’ the movements with two trumpets thr conflict of tion with each other, as are the two oboes. and the violins and
$010 against tutti is compounded by another conflict between the violas. during an imititive ireatment of the headm’otive.
two solo trumpets. An example of this intensified conflict may be
seen in Figure 25, in which the passage of competition between
the two solo trumpets in measures l-4 is succeeded by a tutti
Fig. 27 - Meaxrres I-8 of the first movement of D. VIII.5.
for strings. More frequently. however. the two trumpets do not
contend with one anqther. but rather work together as a single
performing force. The two trump& often have’the same rhythmic
figure harmonized in parallel tl!irds. An example in which the two
trumpets have been fused into a single performing force may be
seen, in Figure. 26, which s!lows the two trumpet parts during
measures 2 1-23 of the first movement of D.VII. I. In D.X. 16 the
four trumpets are .divided intd pairs to produce two levels of
concerted conflict. On one level. the bright timbre of the solb
trumpets is pitted against ‘the contrasting timbre of the tutti
strings: on another &cl. o”,e pair of frumpets is pitted against
the other. This three-bay:
_#. rivalry of perfo,rming forces is clearly
shown in measures 38-45 of the seconci movement. ,,

4

A few of the fast movements with trumpets feature still another
application of the concerted principle by employing solo violins,
which contrast with the solo trumpets (and oboes) in timbre and
with the tutti strings in weight. In the final movement of D.VII.1,
four solo violins are used in the mid-section. Not only do these
solo violins contrast with the solo trumpets and the tutti strings
that compete in the two outer sections, but the four violins them-
selves are grouped into competing pairs. Moreover, the two violins
of each pair are in competition.
Torelli is most ambitious in his application of the concerted
principle when he employs two orchestras to achieve a conflict
of con’ spezzati. In both D.IX.2 and D.IX.3 Torelli uses two or-
chestras, one consisting of two oboes and strings, the other of two
trumpets and strings. Another example of con’ spezzafi is evident
in the first and last movements of D.VII.1, in which the tutti
sections are enlivened by the constant conversation between two
separate orchestras.
The opening movement of D.VII.5 offers one of the most imagi-
native applications of the concerted principle. Torelli places the
two lower voices of the string section, violas and continua, in
competition with the two violins. In the first seven measures: the
principal thematic material is assigned to the lower strings, while
the violins are subordinated in chordal punctuation. In measures
17-25, however, the roles are reversed: the violins have the princi-
pal thematic material, while the lower strings provide occasional
punctuation. Torelli even complicates the rivalry in later passages.
Although the first four measures of the principal material is as-
signed. to the lower strings in measures 50-54, the counterpoint is
5
inverted in measures 54-57, so that the principal material is played
by the violins and the lower strings, appearing first in the violins
(measures 67.-69), then in the lower strings (measures 69-7l),
again in the violins (measures 7l-72), and finally in the lower
strings (measures 72-73).
Conflict of Thematic Materials
Torelli creates another major point of conflict in his use of con-
trasting thematic materials. Most frequently, a thematic polarity
is drawn between material that is distinctive enough to be easily
recognized whenever it recurs and material that is not. In the
opening measures of D.VII. I, for example, the indistinctive mater-
ial exchanged between the violins in the first ten measures is in
conflict with the distinctive thematic material assigned to the
trumpets in measures I l-13. Similarly, in the final Allegro of
D.jVI.3, there is an implicit thematic conflict between the distinc-
tive motive that the trumpet plays in the first measure and the
passage work assigned to the trumpet in measures 7 and 8. Al-
though rapid motion makes this highly figured melody hard to
remember, it adds to the utility of the material as a vehicle for
displaying virtuoso technique. The fast movements with trumpets
are permeated by melismatic passagesof conjunct sixteenth-notes,
intended to show off the technical facility of the Bolognese trum-
peters. In certain of these movements, Torelli also has inserted
rapid passages for solo violins that are idiomatic to the technical
possibilities of the instrument. In measures 19-40 of the final
movement of D.VII.1, for instance, most of the broken chords
that recur throughout the successive violinsolos are easily accom-
modated by the four strings of the violin. The same passagewould
have been unplayable on natural trumpets because it would have
exceeded the possibilities of the trumpet. in facility, range, and
accidentials.
In other movements. thematic materials of equal distinction
are pitted against one another. In the second movement of D.X. 16,
for example, the discontinuous melody that the first two trumpets
play in measures l-8 is sharply contrasted with the highly contin-
uous material assigned to the strings, beginning in measure 25. A
close examination of measures l-7 explains the discontinuity of
the initial material. The melody is constructed by the successive
addition of one-measure cells that might be represented by the
symbols: A B C A C D D’ Discontinuity is bred by the agogic
accents that appear in the third and fifth measures (material C),
and by the recurrence of the initial melodic cell (A) in the fourth
measure. The contrasting material shown in measures 25-28, on
the other hand, achieves uninterrupted progress through the per-
vasive use of sequence. Throughout the trumpet works. Torelli
expands the length of his melodies by employing both sequence
and the additive combination of motivic cells.
The conflict of thematic materials is compounded in this move-
ment by a conflict of texture. Although the initial trumpet melo-
dy is harmonized with parallel thirds in a homorhythmic relation-
ship, the string material is set in a three-part fugal texture. The
effect is an intensification of the previously discussed conflict of
thematic materials.
Conflict of Rhythm
Pitch and rhythm are usually dual components of melody that
contribute to the individuality of thematic materials. But in cer-
tain of the movements, the conflict of rhythms overshadows the
co’ntrast of melodies and becomes a central point of contention.
In the final Allegro of D.V.8 (Figure 30), for example, the primary
conflict of the movement is one of rhythm. The rhythm that ap-
pears in the strings in measures l-6 has a double-dotted effect,
produced by the sixteenth-note anacruses. Torelli. places this-
pointed rhythm in tensive juxtaposition to the more relaxed trip-
let rhythm assigned to the trumpet in measures 6-8. Figure 28
shows that the trumpet melody has the same basic pitch content.
as the initial melody in the first violin. Throughout the movement,
rhythm rather than pitch content furnishes the chief element of
rivalry. i -1’ . .
Fig. 28’ - Melodic similarity in,- the fifth- movement of D: V.8.
Another example of conflicting rhythms may be seen in the
first movement of D.V.8 (Figure 33), in which the regular eighth-
note pulse of the head-motive, shown in .the trutipet in measures
2-3, contrasts with the more irregular rhyihm,of’the trumpet in
measures I O-l 3, because of the interpolation ‘of sixteenth-notes
and trilled quarter-notes. Despite the- contrast of rhythms, Figure
29 shows that the two passages resemble each other in contour
both in the.initial leap of a fourth and in the ‘drop of a fifth fol-
lowed by.repeated notes. ’ ‘.
Another rhythmic device that Torelli uses to enliven his music is
hemiola. In several of the movements, he employs the disruption.
of hemiola to prepare for the reprise. of an earlier musical event. :
In the second movement of D.X.16;for instance, the sequential
flow of sixteenth-notes that has characterized the mid-section of
the movement in measures 71-87 is complicated by heiniola in a
brief codetta in measures 88-90. After the rhythmic disruption,
Torelli is able to present a fresh recapitulation of the initial
. .
material.
Fig. 29 - Contour resemblance in tlze first movknent of D. V.8.
Tonal Conflict
Torelli achieves still another point of GcmflicJ through the ten-
sion amon’g contrast& tonal levels. Because the ‘naturril trl;mpet
was. limited in the num.ber of pitches that could be p,rpduced,,’
Torelli was limited’in.,the tonal levels thiit he c&dd’exp!ore in h$
movements with- trumpets. ‘Since the only’ useful n&-diatonic
pitch in the harmonic seri&of the trumpet was f-&arb”‘(concert
g-sharp” for the trumpet in D). the instrument whs hbie’to piay
with facility only in the concert keys of D and A. For this reason.
the fast movements with -trumGets.aie”tiot tonally adventuresome
if compared to ,the movements ,without trumpets..
In all of the fast ‘movements with.trumpets, the mijor pdles’of
tonal conflict.are tonic’&d’dqn$?nt, or the levels of 9 &d A,
in all of the works t&t D.lX. I >‘in which the polar l&els are C and
G. Although the movements gen&l!y”begjn-ac>‘end, ‘iA 0: t!le in’-’
ternal tonal plan usually involves a vacillation betv&ep D $d: A::k
few of, the movements are’designed iith a simple.top&te plan <f,
tonal levels. In the second movement of DlVI.3, for exakple, &k’
first sixteen, measures are grouncled .by.s,ix statements of a basso
os’tinato that is:clearly centered.in D. In measures 17-27, four
statements of the ground bass are transposed. down a perfect
fotirth’ to”the’le,&l of A. and in me&ures‘28-4&,.. the bassd ostinatd
retu& to the D level.
More ,frequently; howeyer; the key of D ret_urns several times
during the’mdvement to ‘mhke the rivalry liettieen D and A tidre
intense,1 and. the, tqnal plan.more complex:In mqst of, the m,cve-
ments, moreover, Torelli’inserts a brief sectioh centered in’ the
relative minor, B. The sudden presence of the pitch A-sharp, the
leading tone of B minor. refreshes the sound of both D majorand’
A major, since A-sharp is foreign to the set of diatonic pitches it
both tonal levels. In the first movement of D.V.8, for example,$z
conversation between D major and A major is interrupted in.
measure 20 and again in measures 23-24 by an intrusion of B
minor and its requisite leading tone, A-sharp. Because of this inter-
vention, the sound of A major is enlivened when it returns in mea-
sure 25.
Most of the excursions into tpnal areas other than D or A.are
scored for strings and cdntinuo alone, even in the wofks that in-
clude oboes, which could play the accidentals necessary for the
keys of B minor, F-sharp minor, and E major, three of Torelli’s
favorite levels of tonal digression. In some movements, however,
Torelli has cleverly avoided the limitationsof the natural trumpet,
and has included the instrument in passagesoutside the convenient
keys of D and A. In the final movement of D.V.8, for exatiple,
Torelli is able to employ the trumpet in measures 25-26 during a
passage in B minor, becausethe-gives the trumpet only the pitch.:?.
d”, e”, f-sharp”, and g” a’nd avoids the unplayable n-shatp”.’ .:
Two other tonal levels that Torelli uses occasionally to com-
pound the tonal conflict are :F-sharp minor-and-E major. Just as
A and B are the dominant and relative minor, respectively, of D
major; so are E and F-sharp the dominant and relative minor of 4..
Although Torelli normally uses E-major only briefly as a second-
ary dominant level immediately proceding to A, he frequently
juxtaposes F-sharp minor and D major to achieve a startling tonal
conflict. The first movement of D.VI1.S illustrates the use of both
E major and F-sharp minor.: In measures 4-5, and again in measure
7 I, the leading tone, D-sharp, establishes E major briefly as the
dominant of A, which in turn serves as the dominant of D. The
cadence in’D major in measure 33 is disrupted immediately by an
in&ion of F-sharp minor in measure 34; and in measures p3-44,
D major returns in immediate juxtaposition to F-sharp minor.
In one interesting movement, Torelli creates a conflict between
tonal activity and tonal stasis. In the first movement of D.VII.1,
the opening tutti for strings and continua is tonally,actiye. A
C-natural in measurk 3 shifts the tonal center from D to G in
measure 4$ a C-sharp in. measure 4 focuses the center back to D
in measure 5; an A-sharp in measure 7 shifts the key to B minor
in measure 8: and a G-sharp in measuie 9 focuses on .4, which in
turn serves as ,the dominant of D. In contrast, the trumpet solo
passage.t!lat follows in measures I l-14 is tonally static in D, as
is the extended passage for solo trumpet in measures .1.7-25. The
alternation between areas of tonal activity and areas of tonal
stability enlivens the rivalry between tonic and dominant tonal
levels that permeates the movement.
Design:, A Fusion of Conflict and Symmetry
..
All of. the fast movements with trumpets display a complex
interaction among the various, sets of musical elements, whether
they be performing forces, thematic materials, textures, rhythms,
or tonal.levels. The .prjncipal junctional points of these movements
occur when one member of any cor?licting,set of elements enters ,,
into .the musical conversation and when another member drops
out. For example, a significant point in the structure occurs when- these movements also display a ritomello principle in the plan of
ever the tonal center shifts from one level to another. Other vital tonal levels and in the choice of performing forces. The principal
points in the structure coincide with each change of performing key of most of the movements (D major) acts as a tonal ritornello
forces or thematic materials. At the most significant junctures, a when it recurs at significant junctional points during the course of
change occurs.in more than one set of conflicting elements. a movement. Similarly, each recurrence of a distinctive instrumen-
An important characteristic of Torelli’s music is the consistent tation (such as a string tutti) serves as an orchestrational ritornello.
presence of symmetry and balance. One obvious manifestation of Torelli occasionally makes the ritomello structure of a move-
symmetry in the trumpet works is in the over-all arrangement of ment obvious by synchronizing these three levels of recurrence,
movements within the typical five-movement design. The central so that the principal thematic material recurs each time in D major
fast movement for strings and continua is framed by brief slow with tutti orchestration. But more frequently. the three levels of
movements for the same instruments. Fast movements with trum- recurrence operate independently so that the principal thematic
pets serve as the outer movements of the symmetrical structure: material may recur at a contrasting tonal level and with a different
FAST SLOW-FAST-SLOW FAST instrumentation. In certain instances. moreover? one or two of the
fuh strings full three levels may not contribute to the ritomello structure of the
orchestra and continua orchestra movement.
Conflict is present in any movement that employs the ritornello
In the internal design of individual movements, Torelli brings a
principle. since an element of contrast must be used to separate
sense of balance to his arrangements of tonal levels, thematic
each appearance of a familiar element. Any ritornello movement
materials, and.exchange of performing forces. Since the move-
also displays balance, since the tension generated by the apprar-
ments all begin and end,in the same key, they all create a sense of
ante of a contrasting element is always reconciled by a return to
closure. Although symmetry is obvious in movements with a tri-
a familiar element. Of the many movements that derive their
partite tonal plan. many of the movements exhibit a more com-
design from the ritomello principle, the last movement of D.V.8
plex symmetry of tonal areas. The initial level frequently returns
(Figure 30) is particularly interesting.
near the midpoint of the movement, often in conjunction with the
initial thematic material, to posit a central axis for the tonal plan
of the movement. Several of the movements display the principle
of symmetry as applied to both key levels and performing forces.
For example,. a movement that opens with a tutti section at the
tonic level, followed by a solo section at the dominant. might em-
ploy the principle of reflection near the end of the movement by
recalling the solo first‘at the dominant level: and following it by
the tutti at the tonic level:
Tutti - Solo (separation) Solo - Tutti
(D major) (A major) (A major) (D major)
Moreover, Torelli shows .the same fascination with symmetry in
the arrangement of thematic materials as he does in the placement
of tonal areas.
Torelti’s concern for symmetry is complemented by a parallel
concern for balance. He has carefully balanced the amount of time
allotted to the various performing forces. Tutti sections are set off
by solo sections of comparable length: in a movement with tori
spezzati, one orchestra is accorded equal rank with the other: and
in the works with trumpets and oboes. both pairs of wind instru-
ments participate as equals in’the cotzcerto.
.‘In.sornk movements. Torelli balances a tonal deviation to the
mediant+level near the beginning of a movement by a parallel
deviation to.the submediant level near the end. In the first move-
ment of D.VII.5, for example, the following pattern emerges:
Submediant Tonic Mediant
B Minor -~- D Major --~ F-sharp Minor
(measure 6.0) (measure 33)

Plans of Organization
Although Torelli fuses the elements of conflict and balance in
a wide variety of formal plans, most of the movements exhibit
what may be . cal1e.d
. a ritornello design.’ ,The.ltalian word ritor-
nello is a ‘diminutive form of the noun ritomo, which means
return or recurrence. In this study, movements that derive their
Ijlan of organization primari!y from the principle ‘of return are
considered as having a ritornello structure. These movements
usually display the ritornello principle on several levels. Most of
Torelli’s fast movements with trumpets have distinctive thematic
material that recurs several times within the movement. Many of

7
I
8
 In ‘the final Allegrd of’D.V.8 the principal conflict is otie of
rhythm. “As shown in Figure 28, the same basic melody is first set
with a sharply pointed rhythm, and Jater with a .flpwing’:iriplet
figuration. Throughout the movement, these conflicting rhythms
take turns in dominating the musical conversation. Although the
dotted eighth- and sixteenth-note rhythm. seems to intrude into
sections in which the triplet rhythm predominates (as in measures
8 and IS), the performers at San Petronio probably would have
.altered the dotted rhythm to a triplet figure to synchronize with
the other parts.*
dkasure 27 presents B mtire frustrating problem of rhythmic
interpretation. Since the dotted eighth and sixteenth rhythm was
frequently used in lieu of the long-short triplet figure, the entire
passage could. be interpreted with a triplet rhythm., But a more
‘striking interpretation, and one that Torelli may well- have inten-
ded, is shown in Figure 31. Torelli seems to specify different
versions bf the long-short rhythm in the first violin part, and’may
h&e intended that the other instruments adapt to the rhythm of
the highest voice.’ With-this-interpretation of conflicting rhythms
in rapid juxtaposition, measure 27 becomes the very center of the
movement in both time and rhythmic activity. Moreover, measure
,27,is the center of the movement in tonal activity because-of the
rapid Shift fr0m.B minor back to D major.
Fig.’ 31 - An interpretation of meawre 27 of the final movement
.bf D. V.8.
_ tablished level to a dominant-tonic progression at the new level.
;_. . ,. . This rapid change of tonal center appears in measures 17-18
Fig&e 32, a plan of dispersion for the movement, charts the
alternate appearance of the dotted rhythm (designated “I” in
Figure 32) and the triplet rhythm (“II”). This,movement demon-
strates the ritornello principle’ on two .levels. Noi bnly’ does, the
initial rhythmic material (I) recur as a ritornello throughout the
‘moveineht’, but each recurrence usually isset for tutti strings .with-
out trumpet. The tonal ,plan of this movement does not partici-
‘pate. significa,?tIy in the ritornello structure, however, since: D
majo; is pfolonged at the beginning and at the end of the move-
ment, b,ut does not recur in the mid-section (measures 18-27).
. Symmetry may also be sekn in the placement of-‘rhythmic
materials. The center of the rhythmic matrix is measure 27, which
rn& be’interpreted (Figure 3 1) as a stretto of the rhy.thmic com-
petition .found th;ough&t the piece. Passagesin which either of
the two principal rhythms predominates are arranged symmetrical-
Measure ~1 5 6% .8’/2 12% 14 18 20 22 25% 27 28 31 35 36%
Rhvthm.ic MaterialI- 11 I II II I II 1+11 II
Melodic Material a. ,,.:a a ,, a ,a - a.‘
- - ”
Tonal Level’ D -A - b b- D:. ., A _.
performi~&?drces St -. :.. Tr. St:. ‘. ‘T;- ., St. Tr’:“,Sc Tr kt ?r ‘St
., Fig. 32 - Plan of &persion:
._ . .
9
ly around the central kernei: eertain,passages that occur before
this
. . midpoint
.. are reflected by certain other passagesafter measure
27. The material in measures 42-48, for example, is, an exact
repetitipn of th.e.,tirst six meas,ures.Similarly, the trumpet passage
in measures 40-42, reflects the trumpet passagein measures 6-8.
A more relaxed example of symmetry is evident in meas&s 281
30, which recall measures 1.4, 1.5, and 17. (Measure .I6 is omitted
in the reprise.)
The opening thematic material assigned to the strings in‘mea-
sures l-6 consists of two sections: an iccomplete phrase, which
pauses on the, dominant triad in ‘measure.4, and a.concluding
phrase, which rests of the tonic in measure 6. These two melodic
segments amdesignated “a” and “br’ in Figure 32. Only melodic
material “a” is used with the trip!et.rhythm, but with the dotted
rhythm Torelli exploits the distinction between the two phrases in
several differen.t ways. In measures 8Ll3, for example, the first
phrase (a) is reduced in dynamics to a piano level, whereas the
second (b) is. restored to ~forte. .,A cadence of material “b” in A
major (measures 35-36) is followed ‘in mea&es 36-38 by a
sequence of the same material a fourth higher. This sequence shifts
the key back to D major. At the end of the composition, Torelli
repeats this same material as a’tutti co’detta for.the full orchestra.
Figu.re :32 also charts the. tonal plan of the movement using a
wavy line to indicate ambiguity of tonal center before a change of
key. A tonal conflict is clearly present between D majoi and A
major,’ complicated by the appearance of B .minor in,,measures
22-26. Torelli has also created a tonal symmetry, focused around
measure 27...This. ,focal measure .is the juncture of two tonal areas:
one in B, minor (measures 22-26) and one in D niajor (measures
28-30). These. central areas are straddled by passagesin A major
(measures 18-20 and 3 l-36), which in t,urn are framed by. sections
in ,D major. The following diagram illustrates this tonal symmetry:
,.
D ,.-A ,p---m.27-.-.-D A D
In most cases Torelli moves from one tonal level to another
very quickly by proceeding immediately from the tonic of the es-
(D maj2r to -.A, maJo!), 27 (B FinoF to D major), and 3oT3,1
(‘D major :to- A: m.sjor). 1; two.other i%tances. Torelli uses-se-
quence to modulate. In measures 20-2 I, -for instance, a cadence
in A major is followed -by. four chords that seem to be ce,ntered
around D. When’the four chords are then repeated in sequence a
third lower, the Itonal center is shifted to B. In measures-?6-37
the t&al center changes from ‘A to D‘by a Sequence of the har-
monic progression that had occurred in measures 35-36. :
The bottom line of Figure 32> which shows the alternation-df
performing force;, uses the abbreviation “St” to indicate strings
and continua, and “Tr” to denote trumpet and continua. Nearly
evej significant structural point.bf the move&nt is acco&p&igd
by a cliange. of instiimentation. The prolonged conflict between
trumpet solo and string ensemble is finally reconciled when the
full orchestra participates in the tutti codetta.
i,
38. .39. 4@ 40%. 42% 46% 48;’
I II II I
a a b . ,, - k.: a a a b b, :
D
! .lTr St” Tr St . . Tr’ &it ‘: Tititi
@aI Allegro of D. V.8.
..
 Fugal Organization
Several of the movements employ’ fugal procedures as well as
the ritornello principle to generate design.‘O In’ most such move-
ments, Torelli uses a fugal texture only during tutti’ passages to
intensify the contrast of performing forces. In the opening Vivace
of D.V.8 (Figtire 34), however, Torelli employs fugal procedure
even in certain passages for solo trumpet and continua.
Although most of the fast movements with trumpets achieve
much of their vitality through the use of contrasting thematic
materials, the first movement of D.V.8 derives its thematic mater-
ial from a single headmotive. Figure 33 shows that this headmotive
consists of two parts, designated HM, and HM,. The headmotive
is used as the subject of three fugal passages in measures 2-10,
14-l 8, and 25-30, as shown in Figure 36.
Fig. 33 - The headmotive of the first movement of D. V.8.

The first fughetta consists of two points of imitation. After

the full orchestra has sounded an initial D major chord to establish
the tonal center; the trumpet begins in measure 2 with a statement
of the full headmotive. This entry is answered a half measure later
by the continua, which states only the first part of the headmotive
in a real answer two octaves lower. The two voices continue in
free counterpomt to a cadence at the dominant level in measure
5. The second1 point of imitation employs the .four string voices,
all of which enter with the entire headmotive. The first violin
enters at the end of measure 5 with the three-note anacrusis, fol-
lowed a half measure later in a real answer at the unison by the
second violin, two measures later in another real answer at the
unison by the viola, and three and a half measures later by the

Fig. 34 - The first’ movement of D. V.S.

Vivace
 sages use thematic material derived’ from the head-motive. The
relationship between the headmotive and the material of the first
episode (measures 1O-t 3) has already been ill,ustrated in Figure 29.
The supplementary thematic material used in the second episode
(“SM, ” in measures 19-24) rcscmbles that of the first episode. as
shown in Figure 35. This second episode consists of two sections:
measures 19-2 I, scored for trumpet and continua; and measures
22-24, set for strings and contintto. The first section employs
sequence to achieve an inflection toward B minor in measure 20:
but digresses from this tonal level by a retttrn to .4-natural on the
final beat of the same measure. Measures 22-23 repeat the tonal
sequence of measures 19-20. but reach a firm cadence in B minor
on the first beat of measure 24. This tonal level is immediately
destroyed, however, by a return to A major in measure 25. SM,
appears again in measure 3 I during a brief passage that prepares
for the codetta. The repeated closin, 0 material. SM; (measures
3Z!-35), closely resembles the second part of SN, (measures I?-
t 3) as shown in Figure 35.

Figure 36 is a grapllic rcprcsenta’tion of the design of ths

continua in still another real answer an octave lower. This fughetta
ends with a repeated dominant triad in measure 10.
The second fughetta: in measure 14-18 is a rel%tition of mea-
sures 6-10 transposed to the dominant level. The final fughetta
(measures 25-35) also consists of two points of imitation. The
first, in measures 25-26, employs three entries of the’headmotive
at the dominant level, A. The second violin enters first in measure
25, followed by the first violin a half measure later. and the viola
a full measure later, using only the first six notes of the head-
motive.‘The second point (measures 27-30) returns to the tonic
level, D, for an exact repetition of the bicinium for trumpet and
continuo in measures 2-5.
As has been noted, the episodes that separate these fugal pas-
movement. Musical conllict ih illustrated by at least three aspects
of the movement: conflict of perfoiming forces. shown in the
bottom line of the diagram: conllict of tonal levels. shown in the
second line from the bottom: and conflict of texture. caused by
the presence or ;~b&ncc’ of fugal procedure that is charted in the
second tine. The diagram also points out the symmetry of the
movement. The second fughetta is the focal point of the move-
ment. and is framed by episodic passages. The first and third fugal
sections. both of which are bipartite, ‘reflect one another in the
instrumentation and in the tonal levels of each pair of imitative
points.
This movement ako demonstrates a ritoinello principle of
organization on three Icvels. All significant thematic material is
derived from a single hcadmotivc. and therefore is not arranged
according to a ritorncllo principle. But ritornrllo structure is evi-
dent in the plan of tonal levels and of instrumentation (Figure 36j.
D major recurs as :I tonal ritornello in measures 13-l 8 and 27-36:
and string-tutti iiistrLltiielit;ltioli recurs as an orchestrational ritor-
nello in measures 13-1s. 22-26. 30-3 1. and 34-36. Still another
level of ritornello structure is evident in the recurrences of fugal
procedures in measures 14-l 8 and 25-30 (fughettas II and III in
Figure 36).

1 Measure II2 6 IO 14 I9 1-z 25 27 31 32 34 351

Fugal Procedures 0 fughetta I episode I fughetta II episode I I fughetta II I codetta
Thematic Material H&l f-1M SM, HM SM, SMy HM HM SM? Sklj
Tonal Level D A - D D -b-b- A D D
Instrumentation Tr St Tr st Tr St St Tr St Tr St Tutti

I I I I

Fig. 36 ~ Plart 0-f dispersiort: .first ~novemenr of D. V.S.

11’
 Basso Ostinato Organization
Of the two movements that employ a basso ostinato pattern”,
the ostinato structure is most consistently present in the second
movement of D.VI.3 (Figure 37). In this movement, the basso
ostinato, which is two and a half measures in length, is derived
from the major form of the traditional chaconne bass pattern, as
shown in Figure 38.12

Fig. 37 - The second movement of D. VI 3.

i "
12

Fig. 38 y The major form of the traditional chaconne bass pattern
and Torelli’s basso ostinato.
Torelli has increased the rhythmic activity of the last measure
of his ostinato, to propel the bass line toward each reiteration of
the chaconne pattern. Each of the fourteen occurrences of the
ostinato is marked by the symbol [-] in Figure 39, a plan of
dispersion for the movement.‘The first six patterns,of the cha-
tonne figure (measures l-16) appear at the tonic level, D; the
middle ‘four patterns (measures 17-27) are transposed down a
perfect fourth, so that the tonal level is A; and the final four (mea-
sures 28-40) are restored to the D level.
During the tirst,three measures of the movement, the ostinato
supports a tutti passage scored for strings. This string material
recurs throughout the movement’ as a ritornello, designated “R”
in Figure 39. An inflection toward the dominant level occurs in
the second measure of each appearance of this ritomello, followed
by a return to the tonic. The ritornello, therefore, displays in
miniature the tripartite tonal plan of the movement.
In the first section of the movement, the string ritornello ap-
pears three times (beginning in measures I, 6, and I I) alternating
with passagesfor. solo trumpet. Although the string ritornello ac-
companies all four patterns of the ostinato in the mid-section
(measures 17-27), the trumpet enlivens the second and fourth
ostinato patterns (measures 20-22 and 25-27) with a soaring
descant. In the final section of the movement, the string ritornello
appears three times (measures 28-30, 32-35, and 37-39). This
final ritornello section, which is reduced in’dynamics to a piano
level, is followed by a brief codetta scored for trumpet and strings
at a forte level. Throughout the trumpet works, Torelli often in-
serts an immediate repeat of previous material at a reduced
dynamic level. This vivid contrast of dynamics adds still another
element of conflict to Torelli’s music.
Since the interludes for solo trumpet are based on the same har-
monic pattern as the ritomellos for strings, the thematic material
assigned to the trumpet bears some resemblance to that used in
the ritomello sections. In measures 8-10, for instance, the trumpet
material is merely an embellished version of the first violin part of
the ritomello. But the trumpet material in other passagesis dif-
ferent enough from the ritornello material to be designated supple-
mentary material (SM, , SM,, and SMs).in Figure 39. The trumpet
solo in measures 3 l-33 is a composite of two previous interludes:
the first part of SM, from measures 3-4, and the second part of
the ritomello material from measures 9-l I.
In three places during the movement (measures 16, 27, and 36)
Torelli allows the ostinato figure to cadence without an immediate
recurrence of another bass pattern. In such cases, the trumpet
plays a solo passage without continua accompaniment. These
florid bridge sections prevent the music from losing momentum,
and join the disjunct ostinato segments. The first such passage
(measures 16-17) employs the familiar ritomello material to join
the first section of the movement, in D major, with the mid-
section, in A major. In measures 27-28, a florid scale passage
(SM,) connects the mid-section with the final section in D major.
The same florid material is used in measure 36 to prepare for the
final appearance of the ritornello.
Like all of the fast movements with trumpets, this movement
gains intensity from the conflict of tonal levels and performing
forces. It also displays a simple symmetry in the arrangement of
tonal levels. Torelli’s use of the chaconne bass pattern, however,
has given the movement an unusual degree of unity and contin-
uity.
The Slow Movements
.Most of the slow movements are quite short-usually from two
to ten measures in length. Some of these slow sections are so brief,
in fact, that the term “movement” is perhaps inappropriate. Those
that are part of the typical five-movement design serve as brief
transitions, inserted between the fast movements to provide both
interruption and preparation. In certain works, initial slow move-
ments serve as introductions to the more extensive’fast movements
with trumpets. Longer slow movements occasionally are used as
mid-sections for works in a three-mpvement design. Although a
few of the slow movements include trumpets in the orchestration,
most are scored for strings alone.
Brief Slow Movements Without Trumpet
The slow movements that are part ,of a five-movement design
are used in pairs to frame a central movement, which most fre-
quently is set at a fast tempo. The fi.rst of these transitional slow
movements interrupts both the tempo and the tonality of the
initial Allegro, and in most cases provides a tonal preparation for
the middle movement. Similarly, the-second slow movement pro-
vides not only a temporal disruption of the middle movement, but
also a tonal preparation for the final Allegro. In some of the
works, Torelli has employed slow movements that accomplish
both tonal disruption and tonal preparation with a maximum, of

Measure I * 2% 6 8% II 13% I6 17% 20 22% 25 27% 28% 31 33% 36 37 39%.

Ostinato [-I [- 1 l-1 [-I [- I ]&I Bridge ]--I [--I [--I [---I Bridge [- ] [-] l-1 Bridge L-1
Thematic R SMl R (R) R SM2 R R R R’. R R $1 R SM3 cocletta
Material SM3
Tonal D
Level D A

:~f~~~men- St Tr St Tr St Tr Tr St St+Tr St St+Tr Tr St Tr St Tr St St+Tr

Fig. 39 - Plan of dispersion: second movement of D. VI.3.

13
economy.
In D.V.8, for example, the brief second movement consists of a
tonic-dominant-tonic progression in ..A major, followed by a
sequential tonic-dominant-tonic progression in E major. This two-
measure interjection dissolves the D major tonality of the first
movement. Moreover, the ambivalence between A major and E
major prepares for a parallel ambivalence in the middle movement
between D major and A major. The middle movement is followed
by another two-measure interruption, which consists of a repeated
tonic-dominant-tonic progression in A major. Torelli has anchored
these two measures in A major to provide a tonal pivot. A major
fulfills the tonal expectation of the final chord of the middle
movement (the dominant of A); it also serves as a dominant
preparation for the D major tonality of the final movement.
Because trumpets do not play in most of the slow movements.
Torelli no longer has to consider the pitch restrictions of the
natural trumpet. Most of the slow movements. therefore. explore
such foreign tonal levels as B minor and F-sharp minor. The fifth
movement of D.V.1 I (Figure 40), for example, begins in B minor
and ends on an F-sharp major triad, the dominant of B. This brief
Adagio is sandwiched between two larger Allegro movements.
both in the key of D major. The key of B minor sounds especially
fresh after a long movement in D major: and by ending the Adagio
section on the dominant triad with an expected resolution to B
minor, Torelli has paved the way for a surprising return to D major
in the final movement. Throughout his trumpet works: Torelli
frequently resolves F-sharp major (or minor), at the end of a slow
movement: to D major, at the outset of a fast movement.
Fig. 40 - The fifth movement of D. V.1 I.
Torelli has composed a striking pair of slow movements for
D.VI1.I The second movement of this work (Figure 41). desig-
nated Largo e Staccato. begins on a diminished seventh chord with
G-sharp in the bass. I3 The two following chords constitute an
A major harmony approached by a 4-3 suspension and are fol-
lowed by a modulation to G minor. Torelli emphasizes this modu-
lation in his bass line, which moves’from A through a reiteration
of D to G. But in the upper voices. Torelli has enlivened the har-
monization by employing non-harmonic tones. The fourth and
fifth chords of the movement prepare for G minor with a dim-
inished triad on the leading tone (in first inversion) followed by a
dominant seventh chord. The next two D minor chords fulfill the
tonal expectation, although the fifth degree (D) is maintamed in
the bass. What would have been a 9-8 suspension in the first
violin, if G had been in the bass. has become an unusual 5-4 sus-
pension. The movement continues with two dominant chords,
decorated with a 4-3 suspension. again in the first violin, and
followed, finally, by a G minor triad in root position. After a
grand pause. Torelli niodulates to D minor. The first,chord after
the fermata is a secondary dominant in D (V, of V of D): fol-
lowed by a dominant triad. The final chord of the pcntultimate
measure: which has a pre-dominant function. is especially unusual.
14
In music of a later period the B-flat probably would appear in
the bass as the lowest member of an augmented sixth chord; and
both B-flat and G-sharp would resolve to A. The movement con-
cludes with a dominant-tonic cadence in D minor, complicated by
a 4-3 susoension in the second violin.
Fig. 41 ~ The‘sacontl movrme~lt of D. VII. 1.
After a fast movement for solo violin and continua, which
begins in D minor and ends on the dominant of D, Torelli has
inserted another brief slow movement (Figure 42). This Largo
begins with a D minor triad, followed by a dominant seventh and
two tonic triads in G minor. The next chord, which is marked by
a fermata, is a dominant chord in D with a dissonant ninth (B-flat)
in the first violin. The remainder of the movement is exactly like
the conclusion of the second movement. discussed previously,
except that the viola has a B-natural instead of a B-flat on the last
beat of the pentultimate measure. Torelli possibly made this
alteration to create a striking cross relationship between this B-
natural and. the B-flat in the previous chord.
The complex harmonic scheme in both of these movements acts
as a foil for the relatively simple harmony of the outer movements.
Torelli has omitted F-sharp and C-sharp from the key signature in
both movements, and has further complicated the harmony by
moving freely between the minor and major inflections of D and A.
This bimodal attitude is unusual in music of the late seventeenth
and early eighteenth centuries. The emphasis of G minor in both
of these movements fulfills at least two tonal functions. Since the
subdominant (G) does not appear as a significant tonal level in the
outer movements. its appearance in the slow sections is a parti-
cularly striking complement to the dominant, which is emphasized
in the outer movements. Moreover, the two appearances of G
minor serve as a tonal frame for the middle movement (Figure 5 I,
helow). which has a tonal plan arranged symmetrically around
G minor..
Both. the second and fourth movements of D.VII.1, like several
other slow movements in the trumpet works, end with no third in
the final chord. In such cases Torelli may have wanted to recall
 the open-fifth sound, which in earlier periods had been traditional
for final cadences. He also may have intended that the harmonic
continua instruments supply the missing’third; probably in the
major mode as a “Picardy third.” At the outset of the movement
that follows such an open sonority, Torelli always supplies a pitch
that would have completed the final harmony. In DJ’II.1, for
example, F-natural appears in the first chord of the middle Vivace;
whereas F-sharp appears in the initial chord of the final Allegro.
Brief Slow Movements With Trumpet
Becriuse the natural trumpet was restricted in its pitch resources,
it is “OF surprising that certain of the slow movements with trum-
pet are not tonally adventuresome. The Grave introduction to
D.V.9 (Figure 43), for example, is situated entirely in the key of
D major. Although Torelli has interpolated no pitch outsid’ the
diatonic realm of D major, he has enlivened the harmony in the
second Bnd fourth measures by emplbying 4-3 suspensions in the
first violin. This introductory section prepares in at least two ways
for the,more extensive Allegro that follows. If firmly establishes
D major, ‘the central key of the composition; and the Grave
tempo emphasizes the vitality of the Allegro tempo in the second
movement.
.. Fig. 43 1 The first movement of D. V. 9.
In certain other slow movements with trumpet, however, Torelli
has ventured. into more remote to,naI areas by employing a
restricted set of pitches in the trumpet‘ part. The second move-
ment of D.VI.7 (Figure 44), for example, modulates to the key of
B minor, .after a temporary inflection toward A major? effected by
the appearance of G-sharp in the first measure. The movement is
concluded by a Phrygian cadence resting on F-sharp, the dominant
of B. Torelli frequently ends his slow movements with such a
Phrygian ending, usually decorated with a 7-6 suspension. The
Fig. 44 - The second movement of D. VI. 7.
fourth movement of the‘same composition, which follows a“Pi+o
for two solo violins and continua, is an exact repetition of the
final:three measures of the second movement, except for an oct%ive
displacement of the bass line. In both of these movements, Torelli
is able to include the trumpet- during a tonal excursion beyond. t:he
convenient keys of D and A major by confining the trumpet part
to the pitches e”, f#“, and g”. .
More Extensive Sldw-Movements ’ , . .,,’
Although most of the slow movements are Short introdu&ry
or transitional sections: Torelli.*emplo& g ‘more extensive slow
movement in D.VI.4, D.VIII.4, and D.X. I2 as the second of thiee
movements. Figure +6 is a plan of dispersion for the middle-move-
ment of D.VIII.4 (Figure 45), which is scored for two trumpets
and two oboes in addition to st?ings and continua. Although Fhe
two outer movements 6f D.VIII.4 are claced firmly in D”mijor,
this middle Largo has a tonal ambivalence built into its initial
ther’natic -material .(:‘I” in Figure; 46). i‘his initial material,-tihich
recurs in each of the first four measures, is set to a long-short
triplet rhythm. This opening motive commences on an A major
triad, but is tonally ambivalent, since a tonic-subdominant-tonic
progression in A major is identical to a dominant-tonic-dominant
progression in D major. The ambivalence inherent in the initial
motive is compounded when the motive occurs in sequence in
measures 3 and 4. .
After a cadence in B minor (measure 6) and a pair of abbre-
viated statements of the initial motive by the trumpets and obdes
in B minor (measures 6 and 7), the strings enter with contraSting
thematic material (measures 7 and S),,which is designated :‘II”
in Figure 46. Mate&l II brings a brief affirhation of A major.jin
measure 8> but the sequential material that the oboes play’,in
measures 8 and 9 cadences-in G major. A tariation of material II
appears in the strings in measures 9-l 0, inflecting the key toward
D major;.whereas a sequence of the same material.by the oboes in
the following’measure shifts the tonal center back to A. In mea-
sure I I, the trumpets intrude with the initial motive, followed ‘in
measures 1’2-13 by an extended version of the’second mate’iial,
which ends on the dominant of A. The movement ends with a
repeated codetta for the entire orchestra (measures 14-l 7). A
reference to the initial motive appears at the beginning of the co-
detta (measure 14). In this instance, the dominant-tonic-dominant
Fig. 45 - The middle movement of D. VIII.4.
Measure I 234 5 65 7 7% 8% 9.5 IO?5 11% 12 14 15!h2 1’

Thematic Materiai cadential nlaterial (II extd.) closirig material(l) closing material repeated
Instrumentation St Ob Tr Ob St Tr Ob St Ob St Ob- Tr St Tutti
Tonal Level A D ‘b .4GD A

)I 1 1
I

Fi,& 46 - Plun o( dispe&on: second nzoveinen~ of D. VlfI.4. i-

16
 progression in A major is identical to a tonic-subdominant-tonic
progression in E.
Like the fast movements with trumpets. this slow movement
displays both the principle of conflict and that of symmetry. Con-
flict is present in the exchange of contrasting performing forces
and in the use of contrasting tonal levels and thematic materials.
all of which are shown in Figure 46. The plan of dispersion also
shows the symmetry present in the tonal plan of the movement
with arrows that point to the symmetrical placement of tonal
levels:The center of the movement occurs in measure 8. where A
major returns briefly. This tonal midpoint is approached through
B minor, ? whole tone above the tonic level, and is followed by
G major, a whole tone below the tonic. These concentric levels
are framed by references to D major in measures 3-4 and 10.
which. in turn, are enclosed by A major.
Certain other slow movements also make effective use of com-
petition among performing forces. In the second movement of
D.VII.8. for example. Torelli pits the violins against the violas; and
in the extensive middle movement of D.VI.4. homorhythmic pas-
sages for tutti strings alternate with more technical passages for
two solo violins. Some of the slow movements employ imitative
procedures. Such movements include the third movement of
D.V.8, the third movement of D.V.9. the first and third move-
ments of D.Vl.3, and the first and third movements of D.VI11.3.
Fast Movements for Strings Alone
In most of the trumpet works, a pair of brief slow movements
is used to frame a more.extensive interior movement scored for
strings alone. Although two such interior movements, the third
movement of D.V.8’ and the third movement of D.VI1.Z. are
marked Largo and Andante, respectively. most of these move-
ments are set at a f&t tempo: Presto, Vivace, or Allegro: Whereas
, the fast movements scored for the entire orchestra are filled with
technically difficult passages for solo trumpets, most of these
interior fast movements employ virtuosic passages for violins.
The ‘table below lists the fast interior movements that employ
rapid passages for one, two. or four violins. The word .“~olo” in
this Table indicates that solo violins are specified.
TABLE
Fast Interior Movements with Rapid Passages
One Violin Two Violins
Mvt. Work Mvt. Work
3 D.V.7 2 D.V.11 (solo
3 D.Vl.9 (solo) 3 D.VI.1 (solo, with-
3 D.VIII.1 (solo) out continua)
3 D.VI1.2 3 D.VI.7 (solo)
3. D.Vl1.3 (solo) 3 D.Vl.8
3 D.VlI.4 (solo) 3 D.Vl1.5 (solo)
3 Printed Concerto 4 D.VII.6 (alternating
solo and unison
violins)
4 D.V11.7 (solo)
3 D.VIII.1
3 D.Vl11.2
4 D.Vl11.3 (solo)
In Certain of these movements (such as the third movement of
D.VII. I, shown in Figure 5 I ). Torclli has pruned the string rnsem-
ble so that the solo violins are accompanied only by a small con-
tinuo section. In certain other movements. the continua is rcin-
forced by a single violin and viola (Figure 47); and in still other
movements passages for solo violin(s) and continua are altcrnatcd
with passages for tutti strings (Figure 48). Even the continua is
omitted from the third movement of D.VI.I (Figure 49). which is
scored for two unaccompanied violin?. Some of these movements
do not specify whether the violin parts are to be played by soloists
or by unison violins. In such casts. the scribe may have omitted
the designation “solo” because of an understood tradition in
Bologna of using solo violins in interior movcmcnts. But since all
of the violinists regularly employed at San Petronio wcrc acknow-
ledged virtuosos. Torelti may well have intended that these ;jiove-
ments be played by the full ensemble of strings.
When the violin parts proceed at a high velocity in most orthese
movements. the underlying harmonic rhythm is relatively slow. A
single harmony frequently is sustained through an entire measure.
and in some cases even longer. The florid violin melodies LISLKIII~
outline these prolonged harmonies either by repeating patterns 01
broken chords (Figure 47) or by supplementing the chord tones
with scale passages (Figures 48 and 49).
Fig. 4 7 - Measures I-2 of the third mol’emetlt of‘ D. VI.9
Fig. 48 - Measwes 3-5 o,f the tllirtl movement of D. VII. 8.
Presto
for Violin
Four Violins
Mvt. Work
4 D.Vl.5
3 D.VI.6 (solo)
3 D.VI1.8 (solo) Prestissimo
3 D.VIl1.5 (4solo
violins and 4 solo
violas)
4 D.IX.3 (each part
h II
is played by two
violinists)
In most of the fast movements for strings alone. Torelti LISTS
tonal means to generate a feeling of unresolvrd tension. Several
of the movements end on a dominant triad. creating expectation-
for fhe tonic. which usually is unfulfilled. For ewatnpte. the third
movement of D.V.7 (Presto). which is centered in A major. ends
on an E major triad. But instead of resolving this dominant to A
major. Torelli begins the fourth movement with a diminished triad
in first inversion based on E-sharp and continues to a final cadcncc
in F-sharp-minor. More frequently. however. Torrlli achieves tonal’
instability by shifting rapidly from one tonal center to another.
The second movement of D.V. t t (Presto). for example. modulates
17
around a circle of fifths. beginning in F-sharp minor (measure 1):
and progressing through B minor (measure 2), E minor (measure
4), A minor (measure 5): and D major (measure 7) before resting
on a tonally ambiguous diad, consisting of b” and g-sharp” in the
two violins (measure 1 I). The following Adagio compounds the
tonal tension by beginning on a diminished seventh chord. Similar-
ly: the third movement of D.Vl.9 (Allegro) moves nervously from
one tonal center to another, beginning in B minor (measure I),
shifting to D major (measure 5): A major (measure 6). F-sharp
minor (measure 8), A major again (measure IO), B minor again
(measure 12). D major again (measure I4), and D minor (measure
15) before ending on a diminished seventh chord.
Since trumpets are not employed in any of these movements?
Torelli is able to explore a wide variety of tonal levels. The levels
that occur most frequently are D major, D minor, A major, A
minor, E major, E minor? B major, B minor, F-sharp major, F-
sharp minor, G major, and G minor. Figure 50 shows that all of
these keys may be related to the key of D, if major and minor
mode are considered as dual inflections of the same tonal level.

Fig. 50 - Key relationships in the fast movements for strings alone.

Mediant
F-sharp (maj,or or minor)
Subdominant Tonic Dominant Figure 52 shows the key scheme of the movement. Since
G (major or minor) - D (major or minor) - A (major or minor) Torelli freely employs bimodality in this movement, the mode of
the various tonal levels is not indicated. Torelli begins the first
Submkdiant
half of the movement with a I-V-I progression in D, followed by a
B (major or minor)
circle-of-fifths sequence (G-C-F-B-flat-E-flat,), and a progres-
sion from A to D that stresses change from minor to major mode.
In the second half of the movement, the continua seems to estab-
The middle Vivace of D.VI1.I (Figure 51), which is scored for lish various tonal levels by a series of leading tone-tonic progres-
solo violin and continua, is one of the most complex movements, sions beginning after the G in measure 6 and progressing through
tonally, and one in which bimodality is freely employed. The D, A, G, F, C, G, D> A. and G. to D in measure 1 I. But in the
movement is bipartite. In the first five measures, the continua pro- broken chords assigned to the solo violin, most of these tonal
gresses in half-notes; whereas in the follotiing five measures, the levels are destroyed immediately by the intrusion of pitches
continua moves in quarter-notes until the final measure, in which foreign to each tonal level. The surprising c-sharp’ during the first
the continua returns to half-notes. Throughout the first four beat of measure 6. for example, changes G minor to a diminished
measures, the harmonic rhythm also progresses in half notes, seventh harmony. Similarly, the f-sharp’ and d’ during the first
except for the change of mode on the second beat of measure 2 beat of measure 7 change A minor to an inverted dominant
and the added sevenths in the chords during the final beats of seventh in G. Throughout, the second half of the movement,
measures 2, 3 and 4. In measure 5, however, the harmonic rhythm Torelli uses diminished seventh and dominant seventh harmonies
accelerates to quarter-notes with the change of mode on beats 2 to avoid even a temporary feeling of cadence, and thereby gener-
and 4 in anticipation of the faster harmonic rhythm of measures ates an extraordinary amount of tonal tension. Even the return
6-l 0. to D minor in the final measure is negated by the g-sharp’ in the
violin, before the movement concludes on the dominant of D.
Fig. 51 - The middle vivace of D. VII. I.
Figure 52 demonstrates the complex pattern of tonal symmetry
in the above movement. The tonal plan is symmetrical around G,
which occurs at the outset of the second half of the movement.
The levels of D and A radiate outward from this center. Similarly,
the levels of D and G at the beginning of the movement are re-
flected by recurrences of G and D at the end. The symmetry is

Measure Il.2 3 4 5 6 7 8 9 IO II I
Tonal Level D, G C F Bb Eb A D G D A G FCGD+ G D - VofD
circle of fifths circle of fifths
counterclockwise L-!-l clockwise
I 1

Fig. 52 ~ Tonal plan of the third movement of D. VII..1

18
complicated. however. by a pair of complementary tonal se-
quences, which progress in opposite directions around a circle of
fifths. In measures 3-4, the series C-F-B-flat-E-flat progresses
counterclockwise around the circlet4. whereas in mea&es 8-l 0,
the series F-C-G-D-A progresses clockwise.

Fast Movements for Trumpet and Cello Solo

Both the fourth movement of D.V.9 and the third movement of
D.VI.2 are interior fast movements scored for solo trumpet, solo
cello, and continua. Like the fast movements scored for the full
orchestra, both of these movements derive their structure from a
fusion of conflict and symmetry.
Figure 54 is a’plan of dispersion for the fourth movement of
D.V.9 (Figure 53). Most of the thematic material in the movement
is derived from the two-part headmotive that the cello states in
the .first three measures (Figure 55). The first part of the headmo-
tive, designated “HM, ” in Figures 54 and 55, first appears in the
cello in measure I. The second part, designated “HM, “> which the
cello first plays.in measure 2 is a melismatic pattern of sixteenth-
notes that usually is repeated in sequence. The two parts of the
headmotive normally are used in conjunction with one another. as
in measures l-3 in the cello at the level of D major. measures 5-7
in the trumpet still in D major, measures I l-14 and 10-23 in the
cello at the level of A major, and measures 30-32 in the trumpet

Fig. 53 - The fourfh movement of D. Tf.9

14 5 8 9 10 11 15 I6 17 18 20 20% 23 24!h 28 29 30 33 34.36

Thematic Material HM TM HM TM HM HM TM (HM) TM SM (TM) HM TM HM HM HM Hhi TM echo repeat of m. 32-34
a+b a a+b b batba a b b , ,atb a b a a a+b b
subject subject modulatory subject developmental mid-section subject modulatory subject
Tonal Level D D -A - b -A - D
vc Tr Tutti Vc Tr Tutti Vc Tutti Tr Vc Tr

19
back at the level of D major. In certain instances, however. the
motives are used independently. HM, appears in measures 28 and
29 during a pair of interrupted reprises of the opening material.
The first three notes of HM, also appear in the trumept in measure
16. HM, appears during modulatory passages in measures IO and
24-25, and during the brief codetta (measures 34-37), which is an
echo repetition of measures 32-34.
At cadential points Toretli frequently employs one of two tail
motives, designated “TM,” and “TM,” (Figure 55). TM, often
appears at cadences in the cello (measures 4, 14-l 5, and 23-24):
whereas TM, usually appears during cadences in the trumpet
(measures 8. 17? 20, 33, and 36). In measures 18 and 19 both the
trumpet and cello are assigned supplementary material (“WI” in
Figures 22 and 23).
Fig. 55 - Thematic material in the fourth movem?rlt of D. V.9.
Figure 54 charts two levels of conflict in the movement. Thr:
competition between cello (“Vc”) and trumpet (“Tr”) is shown in
the bottom line: whereas the contrasting tonal levels are indicated
in the second line from the bottom. The concerted rivalry begins
in the first eight measures. After the cello solo at the level of D
major in measures l-4, the trumpet predominates in measures 5-8
at the same tonal level. Although both instruments participate as
equals during a brief modulatory passage (measures 9-t I). the
cello again prevails in measures 1 l-l 5 at the level of A major. The
trumpet reigns in mea’sures 16-l 7 during a modulation to B minor:
but after a passage of equal participation that returns to 4 major
(measures 18-20). the .celto again emerges during another solo
passage in .4 major (measures 20-24). After still another modula-
tory passage in which both instruments participate (measures 74-
27). the trumpet enters with the headmotive at the initial tonal
level (measure 28). The cello interrupts in measure 29, but the
trumpet finally gains predominance from measure 30 to the end
of the movement.
A careful examination of Figure 54 also shows that the move-
ment is symmetrical around a developmental midsection (measures
16-20): which modulates from A major to a cadence in B minor
(measure 17) and back to .4 major. This mitt-section is framed by
identical passages in A major for the solo celtq (measures I 1-l 5
and 20-24). The passage that modulates from D to A in measures
9-1 0 is reflected in measures 24-27 by another passage that modu-
lates from A to D. Moreover. the passage for trumpet and coti-
tinuo in measures 5-8 is nearly identical to ;I complcmentar!; pas-
sage in measures 30-33.
Brief Binary Movements
The final movements of D.VIt.6 and D.lX.2. and the flnal two
movements of t~.Viii.l, D.Vlli.2. and D.iX.3 iill have two re-
peated sections. Four of these movements are Mcnucts. the final
movements of D.VIii. I, D.Viil.Z, D.tX.1. and D.iX.2,, which is a
longer version of the final Menuet of D.IX. I. Both the final movc-
ment of D.Vii:6 and the pentultimate movement of D.iX.3 are
designated “Aria”: whereas the pentultimate movement 01
D.Vi1i.I is designated “Gavota.” The sixth movcmcnt of D.Viii.2
has neither an indication of tempo nor of genre.
Torelti has enlivened certain of these movements by employing
the alternation of contrasting performing forces. in the Gavota of
D.ViIi. I. for example. both sections are played first by the oboCs
and’ then by the strings; whereas in the’following Menuet, trum-
pets are alternated with oboes and strings together in both se<-
tions. Each section of the final Aria of D.Vl1.6 is played first by
the trumpets and then by the strings. in the final Menuet of
D.iX.2, two separate orcheslras arc used in alternation during both
sections. The entire movement is then repeated with both orches-
tras playing together.
Most of these binary movements have a simple tonal plan. The
final Menuet of D.lX.3. for example, moves from the tonic to the
dominant of D major in the first section and from the dominant
back to the tonic in the second. in both the final Menuet of
D.ViIi.1 and the final Aria of D.Vil.6, the initial section moves
from tonic to dominant in D major, whereas the final section be-
gins in A major and modulates back to D. The sixth movement of
D.Vltt.2. which is fourteen measures in length, is slightly more
complex. Instead of bisecting the movement in half, the double
bar appears after the first four measures. all of which are in A
major. But in measure 7. at the midpoint of the movement,
E major is established. followed by a return to A before the enA of
tl1t: movrmcnt.
The .4ria of D.tX.3 is the most complex of these binary move-
ments. The movement begins in G major and passes through E
minor before modulating to the level of B minor. which is main-
taincd until the double bar that follows measure 19. The second
section begins in D major, but briefly establishes the levels of B
and I< major before a return to G in measure 30. Figure 56’shows
the symmetry in this tonal ptan.
Fig. 56 ~‘Symmcrr~ i/i rhc .Aria of D.IX.3.
..:.;,.
The tonal plan of this movenlent is particularly slriking in that
ToI-clti has mirrored the minor keys of E and B (measures 14-l 5j
with the major keys of B and E (measures 36-27). Although this
movement is not unique among Torelti’s works in treating major
and minor as dual intlrctions of the same tonal level. such an
assumption of bimodatity is rare in music of the late seventeenth
and early eighteenth centuries. but became a significant harmonic
altitude in the tatc eighteenth century. In his trumpet works,
Toretli regards parallel major and minor keys as interchangeable
only in movements for strings alone. probably because of the tonal
restrictions of the natural trumpet.
Stylistic Development in the Trumpet Works
ii is difficult to support-with certainty the premise of a stylis-
tic development from early to late works. since most of the trum-
pet works can be dated only by inference. Specific dates appear on
only four of the works: D.V.7 (1693), D.V.10 (l690), and
D.Vll.4 ( 1692). all transcribed by copyists; and D.Vii1.3 (I 707),
in Torctli’s own hand (Autograph ii). Those works copied in the
Autogrliph Ii- hand may well be later worksIs, although in certain
cast‘s Toretti could have recopied zarticr works after the change in
his tlandwriting. One may infer that the works copied in the Auto-
graph I hand are early works. But a detailed stylistic analysis of all
of the trumpet works reveals quite consistent differences between
the works that may well date from early in Toretli’s career (those
copied in the Autograph I hand or dated before I695) and those
 that may well be later works (copied in the Aiitograph Ii hand). 9 See p. 121 of Chapter IV of the auth0r’sPh.D. dissertation.
The works in the Autograph I hand and thpse with early dates 10 First movement of D.V.8, sixth movement of D.V.9, second movement
frequently derive formal organization from thq~ ~2: of l+s_so osti- ,of D.V.!O, second movement of D.VI1.7. first and fifth movements of
natos and fugal procedures.- But in the works in the Autograph II %.VII.S, ‘second movement of D.V111.3, and third movement of
hand, Torelli almost always uses ritornello organization, which is D.VI11.4. In this tudy the term “fugal” indicates the use of mono-
more idiomatic to his increased preoccupation with the principles thematic counterpoint, derived from the canzona style of the mid-
of contrast and return of both tonal areas and performing forces. seventeenth century.
11 Second movement of D.Vl.3, and third movement of lj.VI.4.
An exceptional work is D.VIII.3, which employs fugal procedures
I2 Bukofzer, Music it1 rke Baroque Era, p. 42.
in the first four movements, although it is a late work (dated
I3 At dramatic points Torelli often usesdiminished seventh chords.
1707). The conservative formal organization of,this composition I4 See footnote 3.
probably is explained in Torelli’s title, which says that the Sin- 1s See Chapter III of the author’s Ph.D. dissertation f&r a discussion of
fonia was composed “for the Accademia [ Filarmonica] )” a major Torelli’s Autograph I and Auiograph II hands.
proponent of learning and tradition in Botognese music.
The niost striking development in style, however, is the in-
APPENDIX
creased scale of the works in the Autograph II hand. Not only are
individual movements generally longer in the Autograph II works. The Sequence of Movements in Torelli’s Trumpet Music
but frequently these works have more movements. All of the com- This appendix lists the sequence of movements employed in the
positions that end with one or two appended binary movements thirty-four trumpet works of Torelli. After the tempo of each
are copied in the Autograph II hand, as are most of the works with movement or section (parentheses indicate that no tempo is speci-
six, seven, or eight movements. Most conspicuous, however, is the fied, but that a tempo is implied by the music). the meter, the
increased size of the orchestra in the Autograph II works. Only number of measures. and the instrumentation of the movement
four out of the eleven autograph manuscript compositions with are listed. -The letters “T”, “0“. and “S” designate trumpet(s),
one trumpet are copied in the Autograph II hand. But among the oboes, and strings. respectively: a continua group plays at all
autograph manuscripts with two trumpets. four out of six arc in times. The word seglre. which may or may not appear in the
the Autograph II hand, as are all of the autograph manuscripts music. indicates that no double bar appears at the end of the
with four trumpets, or trumpets and oboes. Moreover, the number movement and that the composer may well have intended that the
of extant parts in each manuscript set implies that most of the next movement or section follow immediately.
works in the Autograph II hand were performed by a much larger
orchestra than the (supposed) earlier works. Works with one trumpet:
Number Tempo Meter Number of Measures Instrumentation
D.V.7 l.Presto C 34 T+S
NOTES (G.4) 2. Adagio C 2 S
3. Presto 314 35 S
See D.V.9, D.Vt.5, D.VII.7, and D.VI11.3.
4. Adagio C 3 S
D.VIII.1, and D.VIII.2:
5. Allegro I2/8 28 Tts
The circle of fifths is understood as follows:
D.V.8 1. Vivace C 36 its
(C .6) 2. Adagio C 2 S
G
-3.Largo C 10 S
Be D. ‘. 4.Adagio C 2 S
5. Allegro C 50 T+S
D.V.9 1. Grave C 4 T+S
E A I9 TtS
(G.7) 2. Allegro C
bt I
3. Adagio C 18 S

“;,;-i.
.’
E ” 4. (Allegro) 6/S 36 T+Cello solo
5. Grave C’ 6 S
B 6. Allegro C 35 TtS
D.V.10 1. Allegro C 32 (including an TtS
CC.11 Adagio codetta)
Because of the harmonic symplicity of much of Torelli’s music, a 2. (Allegru) C 43 T+s ::
significant tonal event occurs whenever Torelli digressesfrom the dia- 3. Grave 314 42 s
tonic realm of an established key to insert a pitch (usually a leading 4. (Allegro) C 42 TtS
tone) that focuses upon a new tonal center. In this study, a new tonal :
D.V. I 1 I (Allegro) 12/S 32 segue TtS
level is considered as established if Torelli fo!lows this overt gesture
(G.10) 2. Presto C llsegue ‘. S
with an authentic candence at the new level. 3 . .
3. Adagio C 4 segue
Manfred Bukofzer,hfusic in the Baroque Em (New York: W.W. Norton.
4. (Allegro) 12/S 25 Tts
1947), p. 226.
5. Adagio C ‘!
Even this brief inflection of C major, the subdominant level. is most
6. Allegro C 41 TtS
unusual in the trumpet works. 53 segue T+s ‘. -1.
It should be noted that the term ritonwlh is often applied specifically D.VI.1 l.(Allegro) C
to movements that have a recurrent motive oi theme with tutti orches- (G.9) 2. Adagio C 2 ,’ T+S ’
tration. For an example, see the discussion of Torelli’s Opus 8, No. 8 on 3. Prestissimo C 9 segue s
p. 401 of Donald J. Grout, A History of’ IVesrem Music (New.York: 4. Adagio C 3 S
W.W. Norton, 1973). 5. Allegro 314 78 ‘. -TtS
46 T+S : I.. ::
This convention of rhythmic alteration was discussed more fully in D.U.2 1. Allegro C
Chapter IV of the author’s Ph.D. dissertation, Giuseppe Tord;~ ,lfusic (C.8) 2. Adagio C 8 .: s ,’
for lmfrumerzrol Ensemble d/r Tntnzpef (University of Michigan, 3. Allegro C 18 TtCello solo
1970). 4. Allegro 618 S5 TtS

21
Number Tempo Meter Number of Measures Instrumentation Number Tempo’ Meter .: Number of Measures ; Instrumenhtion
D.Vl.3 1, Crave C 11 s D.VII.6 I. (.mgroj c 52 Tts’
(G.5) 2. Allegro ‘? 40 T+S (G.20) 2. Adagio C 2 s’ (
3. Grave C 8 s 3. Large 614 i2.’ : s .”
4. Allegro C 24 T+S 4. Allegro C 32 segue S
D.Vl.4 I. (Allegro) C 27 T+S 5. Adagio c 2 s
(G.2) 2. Grav’e 314 42 s 6. “Aria” W3 16 .- T+S
3. Allegro C 42 T+S D.VI1.7 I. Large C ‘14 .s. ~
D.VI .5 1. Adagio C 3 segue S (G.18) 2. Allegro C 60 T+S ’
(G.3) 2. Allegro C 3s T+S 3. Adagio c 6 S
3. Grave C 9 segue S 4. (Allegro) 618 3s s -.
4. Allegro C 16 segue S 5. Adagio 3 S
5. Adagio C 6 S 6. (Allegro) 314 100 T+S
6. Allegro C 27 T+S D.VI1.8 1. Allegro C 77 T+S
D.VI.6 1. Allegro C 45 T+S 2. Largo 312. 18 s
2. Largo 3/2 10 segue s 3. Presto 3/2 20 s :
3. Allegro 312 25 segue S 4. Adagio 3 s
4. Large 312 6 S 5. Allegro 314 117 T+S
5. Allegro 12/8 32 T+S The I. Allegro C 47 T+S
D.VI.7 1. Ajlegro C 4s T+S Vienna 2. Large C 21 . s
(G.11) 2. Adagib C 4 T+S Sonata 3. Allegro C 73 T+S
3. Presto C 8 S (No. 3740)
4. Adagio C 3 T+S
5. (Allegro) 3/4 59 T+S
D.X.12 1. ‘Allegro C 38 T+S Work with four trumpets:
2. Largo C 10 S D.X.16 1. Largo c J 11 S’
3. Allegro C 16 T+S 2. .4llegro’ 3/S 153 : TtS-
The 1. Allegro C 48 T+S 3. Adagio C 3 s
Printed 2. Adagio 312 24 S 4. AlIegro C 24 TtS-
Concerto 3.Presto C 12 segue ” S
4. Adagio C 5 S Works with trumpets and oboes:
5. Allegro 3/8 100 T+S
D.VIlI.1 1. (Allegro) C 58 T+O+S
Works with two trumpets: (G.26) 2. Adagio C 2-l /2 segue S
D.Vl.8 I. Allegro 70 TtS 3.Presto C 7 segue s
614
(G.16) 2. Grave C 6 s 4. Adagio C 3-l/2 segue. s .t
3. Allegro 314 54 S 5. Allegro 618 52 : T+O+S
4. Grave C S 6. “Gavota” Q 16 ots
5. Allegro C 52 T+S 7. “Menuet” 3/4 32 T+O+S
D.VI.9 1. Allegro C 43 T+S D.VllI.2 I. (Allegro) C 52 T+O+S
(G.21) 2. Adagio C 3 S (G.27) 2. Adagio C S-l/2 kgue S
3. Allegro C 1S segue S 3. Allegro C 10 segue S
4. “Adaggio” C 5 S 4. Adagio C 3-l/2 S
5. Allegro 318 124 T+S 5, (Allegro) C 41 T+O+S
D.VIl.1 I. Vivace 618 49 TtS 6. (no tempo) C 14 ‘. ots
(G.22) 2. Largo C 8 segue s 7. (Menuet) 3/4 16 (not speci-
3. Vi+ace C 11 segue S fied)
4. Laigo C 4 S D.Vl11.3 I. Adagio C 9 S
5. Al&o C 61 TtS (G.29) 2. (Allegro) C 25 T+O+S
D.VI1.2 I. Allegro C 61 TtS 3. Adagio C 9 s 1
(G.17) 2. Adagio 312 9 segue S 4. Allegro C 95 ,, s.
3. Andante 3/2 13 S 5. Adagio C 5 s ‘.
4. Adagio 3/2 6 s 6. Allegro C 80 i-+o+s
5 Allegro 12/S 19 T+S D.VIll.4 I. (Allegro) 3/4 145 T+O+S
D.VI1.3 1. (A!legro) 3/4 96 T+S (G.30) 2. Largo 12/8 17 T+O+S
(G.19) 2. (Adagio) 3/4 12 I s 3. (Allegro) C 76 T+O+S
3. (Allegro) 3/4 36 S D.Vl1l.S I. (Allegro) C 49 T+O+S
4. (Allegro) C 48 T+S (C.31) 2. Adagio c 3 S’
D.Vll.4 ’
1. Presto 314 27 T+S 3. Andante C 16-l/2 segue s
(G.15) 2. A&gio C 4 S 4. Allegro C 28 segue s ‘.
3.Presto C 14 S 5. Adagio C l-l/2 S
4. Adagio C 2 S 6. Allegro 614 52 T+O+S
5. Allegro C 19 T+S D.IX.1 1. (Maestoso?)C 89 ‘T??;!‘s
(G.33) 2. Adagio C 3 i
D.VI1.S 1. (Allegro) C 79 Tts : ,’ S
(G.23) 2. Largo C s 3. Allegro C/8 118 TiOtS .’
3. Allegro C 19 segue S D.IX.2 1. (Allegro) C 41 ,, T+O+S
4. Adagio C 4 S (G.28) 2. Adagio C 6 S
5. Allegro 314 93 T+S 3. (Menuet) 3/4 32 T+O+S

22
Number Tempo Meter Number of Measures Instrumentation
D.IX.3 1. (Adagio?) C 12 T+O+S
(G.32) 2. Allegro C 62 T+O+S
3. Largo C 4-l/2 segue s graphical Dictionary:
4.Allegro C 17- l/2 segue s list him as a brother. Charles Burney, in A General Hisfory of
5. Largo C 5 s Music, and Sir John Hawkins, in A General History of the Science
6. Allegro 614 62 TtOtS
7. “Aria” c version 1: 44 s However, the following contemporary account indicates he was a
version 2: 41
8. (Menuet) 3/4 48 TtOtS
[Editor’s note: The preceding article is Chapter V of Eugene
Enrico’s dissertation Giuseppe Torelli’s Music for Instrumental
Ensemble with Trzcrnpel (The University of Michigan, Ph.D., 1970.
University Microfilms Order No. 7 l-4599). Only insignificant al-
terations were made in adapting the text from dissertation to arti-
cle. Additional sections of the dissertation will appear in the next
issue of the ITG Journal. Dr. Enrico is currently Professor of
Music at the University of Oklahoma, Norman, OK 7307 I .]
More on the Shore Family
by Edgar M. Turrentine
The article, “The Shore Family,” appearing in Volume I of the
ITG Journal, consisting of biographical sketches reprinted from
Pulver’s A Biographical Dictionary of Old English Music! is in-
teresting to students of the English baroque trumpet. The Shore
family was prominent in the musical life of England for at least
75 years. Pulver’s work was a contribution to music scholarship;
however, it is more than 50 years old. This article is intended to
up-date those sketches.
In the royal household is an establishment of a serjeant and office
of trumpets, consisting of the serjeant and sixteen trumpets in
ordinary. The orgin [sic] of this office may be traced back to the
time of Edw. VI. when Benedict Browne was sejeant-trumpeter,
with a salary of 24 1. 6 s. 8 d. per arm. . . The salary was after-
wards augmented to 100 1. and so continues In Purcell’s time
the serjeant was Matthias Shore.’
Matthias Shore was the first of three Shores to hold the posi-
tion of Sergeant Trumpeter in the English royal household. His
birth date is unknown, but he was probably born in the late
1630’s or the early 1640’s. January 5, 1682, he was appointed
trumpeter-in-ordinary to Charles II in the place of Joseph Walker.2
On October 5, 1687, shortly after the death of Sergeant Trum-
peter Gervase Price, Matthias was appointed “sergeant of the trum-
peters, drummers, and fifers in ordinary. to his Majesty.“. James
11); however, he did not receive the mace of office until April IO.
1689.4 Through the years, Matthias became quite secure. finan-
cially, for the Sergeant Trumpeter’s post was very lucrative. One
of the prerequisites was the privilege of collecting I2 d. from each
trumpeter, drummer, and fifer performing in publics He built a
house on the Thames which Londoners called “Shore’s Folly” and
he gave his daughter, Catherine, a “small fortune.” In a “list ot
His Majesty’s servants above stairs. who are to attend His Majesty
in his voyage unto Holland,” December 8. 1690, Matthias. William
and John Shore are included and 011 July IO, I691 they weie
granted IO s. per day for I03 days “in attending on His Majesty in
the voyage unto Holland.“6 In the May 14: 1700 issue of T/I~ Post
Boy appeared the following news item: “Mr Showers IMatthias
Shore], Serjeant Trumpet to His Majesty, fell out of his Calash
and Died immediately.“7
There is some question whether William Shore was a son or a
23
brother of Matthias. Pulver, in A Biographical Dictionary of Old
English Music, and the Oxford Companion to Music lists William
as a son. Grove’s Dictionary of Music and Musicians, Baker’s Bio-
and the Dictionary of National Biography
and Practice of Music, list him: also, as a brother of hlatthias.
son of Matthias:
Matthias Shore Esq; His Majesty’s Sergeant Trumpeter, being
lately deceased, all Trumpeters, Drummers, Fifes, and others,
who had, or ought to have had, Licenses from him, are to apply
themselves for new Ones before the 20th August next to his Son
William Shore, who is Admitted and Sworn into the said Office.s
William was appointed a trumpet-in-ordinary in the royal house-
hold on June 27, 1679,g three years before Matthias was ap-
pointed a trumpeter-in-ordinary. In January of 1683, William
Shore was issued a new silver trumpet “upon his promotion to
serjeant trumpet.“1° This promotion was evidently temporary. In
April of 1688, William Bull repaired William Shore’s silver trum-
pet.” In 1693, the Earl of Scarbrough led the Horse Guards in a
campaign in Flanders, William was a trumpeter to the first troop
and, in the hostilities, was “robbed” of his trumpet and livery.
He was reimbursed for his loss in l694.‘* Again, in 1698, William
was issued a new silver trumpet, for “his own is worn out.“13 The
same year, he and the other trumpeters were engaged in attending
and entertaining the Ambassadors from France and Sweden, “their
Excellencies the Ambassadors for the Treaty of Peace.“14 On
May 21, 1700, William was appointed Sergeant Trumpeter in the
place of the deceased hlatthias Shore.” Around 1700, a song,
“Prince Eugene’s March Into Italy,” was published, the music by
William Shore and “ye words by a Person of Quality.” Copies are
now found in the University Library of Edinburgh, British
Museum in London, and Chetham Library in Manchester.16 The
melody to this song was printed in Musica Bellicosa, published in
London in I730 and I 758.17 William died in 1707 and was buried
in St. hlartin’s-in-the-Fields Church.
John Shore. son of Matthias. was born in 1662. He followed in
his father’s professional footsteps. becoming a celebrated trum-
peter early in his career.
Purcell, from his connexion with the family, and his admiration
of John’s performance on the trumpet, took every opportunity in
his power to employ him in the accompaniment of his songs and
other theatric compositions;‘8
Sir John Hawkins attests to his virtuosity:
his great ingenuity and application had extended the power
of that noble instrument, too little esteemed at this day, beyond
the reach of imagination, for he produced from it a tone as sweet
as that of a hautboy.19
In the Gentlernan i Journul. January 5, 1691, John’s skill as a
teacher is mentioned:
Whilst the Company is at Table the Hautboys and Trumpets play
successively. Mr. Showers bath taught the latter of late years to
sound with all the softness imaginable; they played us some flat
Tunes: made by Mr. Finger with a general applause, it being a
thing formerly impossible for an instrument designed for a sharp
key .20
At the height of his career as a trumpeter, around 1705, John
“split his lip in sounding the trumpet, and was ever after unable
to perform on that instrument.“2’ Roger North, in “The Comon
Sonorous Tubes,” otle of his essays on the Theory of Sound,
describes the difficulties of trumpet blowing and mentions John’s
embouchure disability:
The tuggs of air at the lipps are so hard and severe, that sounding
long together is not to be borne; therefore they usually take it by
intervalls, and with all that, the stoutest tmmpetter with much
 6 L. C. Vol. 7SjI p. I89 arjd p. 273. de Lafontaine. op. cit. It will be re-
membered \~illiam III was horn and raised in Holland and made frequent
trips hack to H~~llsnd after assuming the throne of England.
7 T/ri’I’~~s/ H~IJ~.hlay 14. 1700. Jaffee. ,,,I. cir.
X T/w I.oi?dort &ret/c. July 8. 1700. Jaffee. op. cit.
9 L. C. Vol. 747, p. 361: L. C. Vol. 480. p. 188. de Lafontaine, op. cir.
IO L. C. Vol. 602, p. 303, de Lafontaine. op. cir.
I L. C. Vu. 440. de Lafonfamc. (,,I. cit. William Bull was a trumpet-in-
ordinary :md an instrument maker/repairer of some repute He main-
taincd ;I workshop in London for at least 20 years. See Lyndesay
L:ingwill. .A,r Itr~lc.r 01 Musical It’iud I~rstrunre~~r Makers. 4th ed.
~hdinburgh, 1974) ior infornution on his manufacturing.
2 L. C. Vul. 755. p. 308 and p. 338: L.C. Vol. 440: L. C. Vol. 60:. p, :I:.
de Lafontaine: q~. cir.
I3 L. C. Vol. 756. p. 140. de Lafontaine, op. cit.
14 L. C. Vol. 756,,p. 68 and p. 86: L. C. Vol. 755. pp. 459.60. de Lafon-
taine, op. cit. The Treaty of Peace mentioned was the Partition Treaty of
1698 between France and England and the Netherlands for the settle-
ment of the Spanish Succession.
IS L. C. Vol. 488. p. 3 I : L. C. vol. 757, p. 42, de Lafontaine, op. cir.
I6 ed. Edith P. S&napper. The British L’uiotl Catalogur of IGn@Music
priuied he~rxe IWI. Z vols. (London, Butterworth’s Scientific Publica-
tions. 1957). p. 950.
17 Carolyn Qxon, “Shore.” .)lusik iti Grschichte uru’ Grgemmrr (Cassel.
1949. ).’
18 Charles Llurney. .A Ge~teral His/q of’:Music. 4 vols. t London. Payne and
Son. 1759). Vol. III. p, 499. There is an excellent discussion of Purcell’s
trumpet parts in Philip Conley, “The Use of the Trumpet in the Music
of Purcell,” Brass Quarfer&. Vol. Ill. No. I (Fall. 1959).
I9 Ilawkit<s. “{I. c,r.
70 “John Shore.” Grow i Dictima~~ of’ Music mrd !Vusicians, 5th ed., ed.
Eric Blom (yew York. St. hIsrtin’s Press. 19551.
2 1, Ifawkms: t,p. cir.
22 &qcr !\C~rr/r WI ?Iluw. cd J~,hn \\‘ilson (London. Novello and Co.. Ltd..
1959).
23 L.C. \/(>I. 754, p. 189. de L;rfont:rine. “,I. c,ir.
24 L. C. Vol. 186: L. C. Vol. 485. de Lxfontaine. op. cir. Why John Shore
ws dropped BS a trumpet-Ill-ordinary is not known: it could not have
hccn hecause of lus cmh~~uchure disability as that occurred later.
25 L.C. Vol. 183. p. 75. L.C. Vol. 186. p. 65. de Lafuntainc. up. cir.
76 I-lwkins. op. ur.
27 Sclmapper. 0,‘. c,it.
2s Coson. “,I cit.
29 I I:lwkms. o/>. cit.
30 Burnev. 0,~. c,ir.
3I Il;rwkins. ,,,I. c,;r. Colley Cihher v,;rs horn N~wemher 6. 1671. His.fathcr
was Ca~us Gahrxl Cihber. a Danis sculptor working in England. His
I~N~~IIL’~~35 .lanc ClAlcy C~lley Clhher was appwnted poet-laureate of
t:ngland in 1720. ~lrc ycac of his wt’c‘s death. Cihber dxd December I I.
1751:
 A Videofluorographic Study
of the Teeth Aperture;- .‘
Instrument Pivot and Tongue Arch and
Their Influtnce on Trumpet Performance
:.-. by A. Keith Amstutz
:
,.
: The aperture decreases as the pitch ascends and increases as the
Duhng. the past decades, brass instructors ha;e”been forced to
use .the empirical approach .to correcting performance ,problems in
their students. Countless little phrases and gimmicks.are in use
today which have little, if any, bearing on actual performance
techniques. Fortunately we can look to the recent advances in
medical research and apply these new techniques for improving
both the efficiency and effectiveness of our teaching. ’ perience this difficulty. The amount of teeth aperture.ctiange was
The research for this study involved a videofluorographi’c in-
vestigation of the teeth aperture, instrument pivot, and.the tongue
-&ch. and ,th,eir’in,Fuente ori tru,mpet performrince: During .the last
few years, thk science.of videofluorography and cinefluorography
(these techniques consist .of .making x-ray motion pictures) has
progressed to the point .where it can be safely applied tb the
analysis> of trumpet performance. Under proper medical supervi-
sic$, th,e: functions.of”the oral cavity and- r&la&d organs can be
fluorographed during performance and recorded with sound on
video tape. The application of either cinefluorography. or video-
fluorography for brass performance analysis has been limited to
the studies of Joseph A. Meidt, University of Ipwa; the late Fay
HBnson;+Weber Cdlle&; and John J. Haynie, North Texas State
University. The m&t extensive of these is the work of Haynie.
The rese’arch discussed in this paper was designed-tocqntinue the
work of Haynie and to. study in depth ‘three of ‘the trends’ ‘indi-
cated by his pil.ot work.
The twenty-five subjec& used in the project.were all students
or faculty at North Texas State University and were capable per-
formers. Represented in this study were the products of the public
school mbsic programs in twelve states and the tutelage of 63 pri-
vate trumpet instructors.
-Each subject was asked ‘to first ton&e and then slu; the follow-
ing exercises ai the “mf” dynamic lecel:
The exercises were designed to present the normal playing range
of the instrument iti a time span,‘which would easily be performed
in one breath. By using the C major arpeggio on the B-flat &urn-
pet, both the ,acoustical ‘and, digital problems were minimized.
With these iimitations, it was assumed that the performance would
be norma!:(Each subject performed on his own instrument and
mouthpiece.)- .: +. “: :
Statistical data in the.original study w&e collected hi-‘measur-
ing, foreach su,bject on each note;. the teetli’aperture, instrument
pivot; and tongue arch. Difference figures w&e’computed ih terms
of increase or decrease ,from the previous pitch. The difference
figures from each individual on.eadh exercise. were th?n averaged
@Copyright 1977 by A. Keith Amstutz. Used by permission.
for the ascending and descending portions with the tongued and
+rred
c -.. sections considered separately. Hotelling’s T2 statistic was
used to evaluate the role of the tongue arch, teeth aperture and
instrument pivot during performance. The statistical analysis con-
firmed that all three variables perform in a consistent manner and
have a direct effebt on trumpet performance.
Teeth Aperture
pitch descends. The basic jaw position for the middle register
showed an :even alignment of the upper and lower te’eth. The
movement of the aperture change was observed as.either smobth
and flowing or rapid and definite. Those with the flowing apertuie
chap&e experienced difficulty in immediately centering pitches,
while those with”rapid and direct changes of aperture. did not ex-
greater during the’slurred portion of each exercise than during thk
tonguecl performance. One loical ekplanatibn ‘is that the act bf
tonguing interrupts the air .striai ‘and dreates a. back. pressure
which provides ‘additional air ,p;e&u&‘~whe’n released.’ The ‘in-
creased pressure in turn contributes id the fast’er vibrations of the
lips to .produce a higher pitch. Thk it&+sed teeth aperture during
slurred performance is one mea’ns of dd.m~k%atiri~ fofoi the la& of
articulation. There’ was also a signifid$t ,!iticr&aie’-in the total
change, of aperture which coincided with ‘the ‘expansion ,of .the
intervals performed.
Instrument Pivot
The angle of inclination between the face of the mputhpiece
and a line determined by the face of thk lower teeth and the base
of the’n$pdible increases as the pit& ascen& a;ld d&creases as the
pitch descends. The natural instrunient placement angle for the
middle register ranged from parallel to the. line between .the teeth
and mandible to an inclination of 21 degrees. The average angle of
inclination was eight degrees. There was a marked increase in’the
degree of pivot in the upper register over that of the lower register
and the amount of instrument pivot was greater during the slurred
portions of the exercises than during the tbngued performance.
The pivot can be a+ieved by either changing the tilt bf the in-
strument, maintaining the position of the instrument and using a
backward tilt of the head. or a combination of the two. Seven of
the subjects combined a tilt of the’instrument with a motion of
the head while ten subjects achieved the change by moving only
the instrument. ‘The pivot of one subject ‘was the reverse of the
anticipated tendency. A measuradle pivot was not present inthe
performance of’ the seven subjects; but an extreme increase in
mouthpiece pressure was observed in each instance.
Tongue-Arch
The tongue arched as the pitch ascended, creating a smaller
opening between the tongue and-the palate. The opening increased
as the pitch descended. While the exact placement ‘of the arch in
relationship to the palaie varied with individuals, I7 of the sub-
jects elevated the ddrsuni (center) of’th& tbngie and the other 8
arched the pharyngeal (back) portion of the tongue. In the lower
register, the tongue was either flattened’ against the floor of the
mouth or slightly balled in the pharyngeal p’ortion, dependent on
the size of the tongue in relationship to the total area within the
oral cavity. The amount of tongue arch change was greater during
the slurred portion of each exercise than during the tongued per-
formance. There was also a significant increase in the amount of
tongue motion when the intervals to’be performed required the
omission of at least one partial of the irumpet overtone’series.
: ‘Thl motion of’the tongue was &her flowing or rapid.The sub-
is
jects with a flowing tongue motion seemed to experience incon- timpani).
sistent tone quality and intonation at the beginning of each pitch. I would invite you to look into the Bach-Gesellschaft and be-
This difficulty was not apparent in the subjects who used a rapid come familiar with what may be the best body of literature
motion during a change in tongue elevation. After the initial written for the trumpet.
sounding of the “high C” in Exercise 3, several of the subjects
decreased the elevation of the tongue. The natural intonation pat-
tern of the harmonic series results in a noted sharpness of partials
six and above. One of the common performance techniques for
controlling intonation on an established pitch without embou-
chure movement is to alter the speed of the air stream through a
change in the opening between the tongue and the palate. It is
my opinion that this technique was employed by subjects during
the performance of Exercise 3.
No conclusions could be determined regarding the interaction
of the teeth aperture. instrument pivot and tongue arch. Since the
statistical analysis confirmed that the change in each variable con-
tributed significantly to performance, it was not possible to eyta-
blish either an order of priority or interdependence without intro- t,
ducing physical limitations on the subjects during performance.
The introduction of phy3ical limitations would alter the physical
coordination of the variables and thus would not represent actual I
I
performance conditions. It was observed. however, that the sub-
jects with a minimal change for either teeth aperture or instrument
pivot demonstrated a proportionall> 1 greater change in at least one
of the other areas under consideration.
While it has been established that the aperture, instrument
pivot, and tongue arch definitely contribute to effective trumpet
performance, I would like to note that when carried to extremes.
these techniques can produce negative results. It is recommended
that each technique he introduced separately and the student ob-
served on a regular basis to prevent extreme response from bccom-
ing a habit. I would be happy to discuss my research and hope that
it will be a positive contribution to braqs pedagogy.
Inquiries and comments concerning this research are welcome
and should be addressed to: Dr. A. Keith Amstutz, Department of
Music, University of South Carolina. Columbia. SC 29208.

Bach Arias for Trumpet

by David Baldwin
Most trumpet players have either performed or heard J.S.
Bach’s Cantata 51, Jauchzet Gott in atlen Landen: but few are
acquainted with the other t/?irrj: arias with trumpet which contain
some of the most beautiful and vlrtuosic writing for trumpet in
the literature.
Most of these arias can be performed as individual pieces apart
from the whole cantata from which they come. There arc a few.
admittedly that would only make scnsc in the context of the
whole work? but these are in the minority.
The complete trumpet repertoire of J.S. Bach is available in a
three volume publication by Musica Ram. IHowever, to my know-
ledge these great works are not available in performance editions
outside the complete cantatas. A set of these pieces is an excellent
addition to a recital program and it is well worth the effort to
make an edition, from the Bach-Gesellschaft by cutting parts from
a copy of the score.
I am planning to do a recital this fall which will include the
arias from Cantatas 172, 76, 77, 20; 128. 175, 214, 103. 130. and
205. Almost all the ‘recital’ arias can be performed with vocal
soloist, string.quartet, and continua. There are seven a.& with
trumpet(s) which require only continua and soloist (sometimes

26
 .,,Bach Arias for Trumpet
_:
_, .e. ‘* . 1....;
Can& Title of Cantata .-: M&&it :, $&, lnskum&tation ’ ‘Remarks .Bach-Gesellschaft Neue ‘Bach
; 7.
No. , No.’ ” ;. ., : Vol. & Pg. No. Vol. & Pg. No.
.
.5 ,.:. WosoIIich fIIehen hin ; ’ 5 :B . T,-Yl I, II, Va, Con (2 Ob) Obbligato I, 143-149
‘10 Meine Seel’erhebt d& Herren 5 ‘A&T Tf,IOb I, II, Con ....chorale I, 299-300 -
,12’ WeInen, Klagen, Sorgec: sagen 6 :, T Tr, Con Chorale II, 76.71
!B Es erhub sich ein Streit- 5 ,..:.T ’ .‘Tr,Vl I, II,Va, Con ..Chorale II, 219-281
:20 0 Ewigkeit, du Donnerwort 8_ B ,Tr.,Vl I, II,Va,Con (3 Ob) Obbligato : :., II, 318-322 I/XV, 169-173
43 , . Gott fahret auf mit Jauchzen I 7 ;:. B ‘:-Tr;Con .‘Obbligato x, 115-119 l/XII, 154-158
46.. Schauet doch und sehet, 3.- B Tr,Vl I,II,Va,Con Obbligato X, 222-229
‘. :, ob irgend ein Schmerz sei
51 :’ ,Jauc@et Gott in allen Landen 1 s,. Ti,VII,II,Va;Con,l’- Odbiigat~~ e1,3-10 _, 1
51 ,. Jauchzet Gott 4 allen Landen 5 .s Tr,Vl I, lI,Va,Con <Obbligato ” _. XII;20-24 1:’ .‘.:,
59 Wermichiiebet,der wird mein ~1 ‘i S&B, ‘. -2Tr, Timp, Vl I, II, Va;Cpn Obbligato ‘. : XI12, 153-161 : I/?Ii1,6jF75 ‘.‘.
Wort halten n- .. .. .:., .. r .-.‘.
;.
,60 :. 0 Ewigkeit, du Donnerwort 1 -. A&T!.; :Tr,Ob.d’&ore I,Il,Vl I, Chorale XI12;171-179 ..’
‘I ;. _ . ‘.‘L. ,,,Va,Co~‘:‘,~ ‘. I’ :/
70 Wachet, betet, seid b&it allezeit 9 ,B .’-. -T;, Vl I, II, Va,ICon (Bsn) Obbligato ‘XVI, 160.367 I/XXVI.l , !40-
. Y;_ .<I ,. 147 .
.
y1,+, .. Gott ist mein Kanig 5 A:.f’T- :3 Tr, Timp;drg, Chorale & Fanfare XVIII, 22-23’
Die Elenden.sollen essen 8 ‘None,: T;,kl--I;II,,Va,Con Sinfonia XVIII, 175-178 l/XV, 115-l 18
75.
15 ; !‘r’ Die’Elenden sollen e&n 12 .+ 1.,.:, Tr, Vl I,,II;Vq Con Obbligato XVII, 183-188 I/XV, 123.129
76 Die Himmbl. &-&en die Ehre Gottes 5 --,‘..B‘:, Tr,Vl I,Ii;Va,Con Obbligato XVIII,211-216
77 _ Du iollst Gott, deinen Herren, lieben 5 :-- .&. Tr,Cbn .- Obbligato XVIII, 252-253 I/XXI, 20-21
90.1 / Es reifet euch,eh schrecklich : 3 :-c ‘B :;’ Tf;.Vl,I. I,II,Va,Con Obbligato XX, 207-213 I/XXVII, 69.
:_‘; .._
Ehde -:I ‘. 17
j -; ‘: . ..
103 _. .Ihr werdet yeinenund heulen 5 Tr,Vl I, I!,‘ca, &&’ ._ Obbligato XXIII; 89-93 .‘. ‘;, .: .
lb5 ‘Herr gehe nicht ins Gericht :- :. T ‘I” -:Tr,Vl I,II,Va,Cbn : . . Obbligato. ‘. XXIi!; 138.143 ,.. .
;.-. .’
110 1;:‘i .Unser Mund sei voll-Lachens B ‘.Y.’Tr, Vl. I, II,Va, C&r(Org). ..-. Obbligato. .. X$!I, 317-323 I/II, l22:1;9
127 “H&r Jesu Christ, Hi&r Mensch und G&t .. 4 :’ B 1, -:.Tr,Vl.I, 11,Va;Con ..’i,.’ Fanfare : XXV<, 1’53.159 ‘!.’ ”
i28 Auf Christi Himmelfahrt allein .-: 3 B ‘.” .,Tr, Vl I, II,,Va, Con ” “dbbligato XXVI, 174-378 1/%11;~&26
130 HI& Got;;dich loben aJlewir .3 B i’ ,Y 3.:Tr, Timp, Con ..Obbligato XXVI,253-261 .-:
13;:‘ [ :Li$ den Herren, deh’m’achtigen --4.. T .‘;:Tr,Con Chbqle “-, XXVIII, 193-185
,._.
Kl)nig der Ehren
145 SO;$ mit de&+ Munde bekennest 5 :. B -.f.. :,-<r, Fl; Ob. &amore I, II Obb!igato XXX, 1 lo-121 I/X, 118.127
Jes;ii;..,,’ ’ ..
.v,.>.:’:Vl I, 11,Con
147 .Herz und iur$ yd Tat und Leben 9 ‘.B,:“’ Tr, Vl I, II, Va, Con .dbbligato XXX, 225-228
16?- :; :.,.Ach, ich sehe,jetit da ich zur 1 :: B::::’ Tr,Vl I,II,Va,Con(Bsn) Obbligato XXXIII, 31-35
:. . . . .,
:: hochzeit gehe
172 .: Ershallet,ihr Lieder 3 B’ 3 Tr, Timp, Con ;,Obtiligato xxxv, 54-57 I/XIII, 18-22
:>...... i . . .. ‘., .. r.,. (also in C pg.
.. ,.. :I :.:,,: :- .,. 50-54)
. . .,_
17:.-y Er rufet seinen Schafecmit Namen (j . ,,:.-. rB;. i’Tr, ,Con. .: Obbligato XXXV, 173-176 I/XlV,159-162
185 l.’ F&he&es I&ze.dei e,wiien Li+e 1:: S&T Tr (Ok), Con Chorale XXXVII, 103-107
205. :-.‘- Zer,reisset,iersprenget, zertrutimert .I1 .B. 3 Tr, Timp,
. 2 Hms, C& . Obbligato XIyl 196-207 I/XXXVII, 57.
.. . i._ :
I’ du GNft ‘. (., : 68
i14 ‘> Tonet, ihr Pauken! Erschallet, Tro& .‘:: .’7 .. ...’ ” ,B .’ ., Tr, Vl I, II, Va, Con -. Obbligato XXXIV, 222-226 I/XXXVI, 136s
I’peten! ‘.,: y ’ 140
t
. 1. :
.

‘.

-- r
.
.. .27
 ,

.. :
Top’row (left to right): Vladimir Morosan (interpreter), David Hickman (Conference Host), and Timofei Dokshitzer; Arthur Benade. ‘Second TOW: Charles
Schlueter, Clement Volpe, Stephen Chenette; Western BrassQuintets- Neil1 Sanders,Donald Bullock, Russell Brown, Robert Whaley, & Stephen Jones with
Phyllis Rappepbrt. Third row: Lloyd Geisler, Ray Sasaki; Glenn Stuart, Marvin Stamm. Fourth row: Louis Davidson, Renold Schilke, Ron Modell; Festival
of Trumpets rehearsal - Donald Whitaker (conductor), Walter Myers, Charles Schlueter, David Hickman, Donald Bullock, Dennis Schneider, Stephen Jones,
28

The 1977 ITG Conference
It is difficult to capture the flavor of an international conclave
of trumpeters-such as the 1977 International Trumpet Guild Con-
ference, held May 18 through 21 on the campus of the University
of Illinois at Urbana-through the medium of typewriter and
paper. One must actually be present to experience the sounds,
sights, and feelings, but mostly the sounds, of over 550 trumpeters
from all parts of the U.S. and Canada, talking shop, performing for
each other, practicing, but most important, learning as much as
possible about the instrument that we all play and all try to play
c together and their intonation was quite good. The Arnold and the
better.
Perhaps the most lasting impression of the conference was of
sounds: unusual sounds like that of Ralph Dudgeon playing the
keyed bugle, Robert Sheldon playing a nineteenthzentury alto
horn, Don Smithers demonstrating the technique of lipping on a
natural Jiigertrompete, the sound of a quasi-nineteenth-century
fi
military band which used E-flat flugelhorns for the top parts;
p,ainful sounds, particularly in the exhibit rooms where everyone
who could hit a double high C or thought he could was trying
out the exhibitors’ horns all at once (at least one exhibitor solved
his ,problem by stuffing cotton in his ears); massed sounds like
that of forty-eight trumpeters performing an arrangement of the
,Manfredini Concerto as arranged by Timofei Dokshitzer; and,
most important of all, the sound of some of the finest trumpeters
in the world, presented in concert and recital.
In’the last analysis, the most important thing about the Confer-
ence was the opportunity for trumpet players-students, teachers,
and professionals-to get together and learn from each other.
Those whoattended learned not only from the lectures, concerts,
and recitals, but also from the opportunity to talk with the guest
artists and with other trumpeters like themselves who were simply
attending the conference to learn as much as possible. Since the
‘opportunity to learn from each other is the most important part
of any such gathering, I might make a suggestion to the organizers
of the next one; allow more time for visiting exhibits and more
free time simply for talking with others in the profession. Per-
sonally speaking, some of my most vivid memories of the Confer-
ence involve, after-hours sessions playing Baroque trumpet ensem-
bles with other natural trumpet “nuts” (to the undoubted disgust
of anyone within earshot). Don Smithers showed up for one of
these sessions and astounded us all with his ability to perform on
one of thelargest Baroque trumpet mouthpieces I have ever seen-
approximately the size of a trombone mouthpiece.
For most of us, the high point of the Conference was the lec-
ture and then the performance by Timofei Dokshitzer, who is
probably the 1,eadingtrumpet soloist in Russia today, and who is
i certainly one of the most’ outstanding trump,et soloists in the
world. His records have been widely disseminate’d, but hearing him
live was a totally different experience.
The sum total of the Conference then, was twofold: an oppor-
tunity to learn, and, more important, the chance to be inspired
by the outstanding players on our instrument. I,:twould be hard to
imagine a more worthwhile, interesting, or just plain enjoyable
way for a trumpeter to spend four days than at one of these con-
ferences.
Since it is impossible to talk about the Conference in general
terms, I am providing a brief verbal sketch of the sessions. Pro-
grams are not included as complete program booklets were mailed
with the May Newsletter.
29
Opening Fanfare
The conference was opened in a most appropriate manner with
a.&?composition for trumpet ensemble. Entitled Fanfare for 12
trumpets, the work was performed by trumpet students from the
University of Illinois, under the direction of David Hickman. The
composition, by Alfred Blatter, was very well received by the
audience, and made a fitting introduction to the formalities of the
conference.
The Western Brass Quintet
The Western Brass Quintet from Western Michigan University
‘had the unenviable task of playing the opening concert, which
consisted of traditional and modem brass ensemble music. The
members of the quintet played with a somewhat small sound, very
much in the tradition of chamber music, but they played very well
Ives were very well done-the Arnold as well as I have ever heard it
played, and better than most recordings. The Erb was a more un-
usual sort of piece, relying on non-traditional sounds (brass players
slapping on the mouthpiece, the pianist playing into the piano),
which, according to the program notes, the composer used to
minimize the differences between the brasses and the piano.
Robert Sheldon - “The Treble Saxhoms, with Emphasis on Their
Role in ‘19 th Century American Brass Bands”
Robert Sheldon is Museum Specialist of the Division of hlusical
Instruments at the Smithsonian Institution in Washington, DC.,
and rejects the title of curator in favor of restorer or conservator.
He brought with him several high brass instruments dating from
the mid-nineteenth century, and used them at various points to
illustrate his lecture. He was ably assisted by a group of musicians
performing on the old instruments, and also on modem flugel-
horns, euphoniums, tubas, clarinets, and piccolo. Sheldon first
made the point that in the nineteenth century the word “cornet”
did not necessarily mean the French comet that we think of to-
day. The term was an all-purpose one, similar to the German
Kornett, which can also refer to the flugelhom. It was his conten-
tion that the leading voice of the mid-nineteenth century brass
bands was not the E-flat cornet, but the soprano flugelhom in
E-flat. Pointing out that the flugelhoms in E-flat and B-flat are
really the soprano voices of the tuba family, he demonstrated the
blended sound of an ensemble of flugelhom-type instruments
playing a portion of the Ewald Quintet. One noticeable character-
istic of the all-saxhom or all-flugelhom ensemble was that when
the alto crossed beneath the baritone, it got darker and took on
the tonal characteristics of another baritone, and when the alto
played in thirds or sixths with the second flugelhorn, they both
sounded like altos. In other words, the all-saxhom or all-flugelhom
ensemble had the blending qualities associated with a string
quartet.
The keyed bugle was essential to the evolution of the brass band
of the nineteenth century. The eighteenth-century band was basi-
cally a woodwind octet, with the trumpet and serpent occasional-
ly added. When the keyed bugle was invented, it was used to
double the melodic line with the first clarinet. The alto, tenor, and
bass of the keyed bugle family, called ophecleides, were popular
for a while, and were responsible for the very high French tuba
parts written by Berlioz and others in the 1830’s, but the advent
of the valve was the main force pushing the ‘development of the
all-brass band in this country.
In the small towns of America, the all-brass instrumentation had
certain advantages, namely that with a few players a well-balanced
instrumentation could be maintained, with a homogeneous tone
quality, and without the problem of woodwind instruments that
could not be played out of doors on all occasions. In this develop-
ing all-brass group. the E-flat flugelhorn became the workhorse, a
sort of “lead trumpet.”
The E-flat tenor horn (what we today would call the E-flat alto
horn), pitched an octave below the E-flat soprano, became the
euphonium of the day, carrying many of the counter-melodies,
and generally working as a foil to the E-flat soprano. The instru-
mentation of an average brass band of the day was as follows:
E-flat cornet (Saxhorn soprano)
2nd E-flat comet. (Sort of an assistant lead part)
1st B-flat cornet (Saxhorn alto)
2nd B-fiat cornet
1st E-llat tenor (Saxhorn tenor)
2nd E-flat tenor
1st B-flat Saxhorn baritone. .(Like a B-flat tenor horn)
2nd B-flat Saxhorn baritone
I st B-flat Bass (Like a euphonium part)
2nd B-flat Bass . (Upper octave of E-flat bass)
E-flat Saxhorn Contrabasse. (Bombardon or tuba)
With the E-flat soprano as the lead voice, and the E-flat tuba as
the lowest voice, the nineteenth-century brass band was trans-
posed up a perfect fourth from the brass ensemble of today. Or.
conversely, our whole band today has been transposed down a
fourth.
The old instruments were tuned well above A=450, and one
problem with performing this music on the original instruments
(particularly if they are mixed with modern instruments) is that
the antiques tend to go out of tune with themselves when they are
tuned flat.
One of the most interesting aspects of Sheldon’s presentation
was the performance by a group of old and new instruments of
some of the music from the Port Royal Band books, dating from
the Civil War period. The band played the j\‘ig/rtiilga[c Waltzes by
Grafulla, a quickstep based on themes from Der Freischiitz, a
nineteenth-century version of the Star-Spangled Barzrzer. and La
Murseilhise. Most of the audience left wishing the band had had
more of a chance to play.
Minnesota Orchestra Trumpet Section - “The Trumpet in the
Orchestra”
Charles Schlueter. Clement Volpe. Ronald Hasselmann. and
Merrimon f-lipps presented an interesting IectLlre-demonstration
on their duties and the instruments they use as members of the
trutnpet section of a professional orchestra. The group opened
their presentation with an unannounced performance of the first
movetnent from Sinforzia Sacru by Panufnik. which required the
players to spread-out to all corners of the stage. The rest of the
presentation was done individually by the four artists.
Charles Schlueter: The section sometimes has to use cornets,
detnonstrated by doing part of the fourth movement of Berlioz‘
S~~mpl~urzie Furztastiqzre (7 cornets, 2 trumpets).
Ronald I-lassclmann: Introduced the fanfare section from De-
bussy’s /?tes, and pointed out that the tnembers of the trumpet
section usually do have some input in the performance of this.
They used whisper mutes. He also talked about the problems oi
being an assistant first trumpeter, which involve a “split personal-
ity” from having to be both a section man and a leader.
Merrimon Hipps: Introduced a section excerpt from Stravin-
sky’s Rite of Spring, then talked about the problems of playing
4th and utility trumpet. The psychology of a section player is
important. and should be taught more in the universities. Students
should do more work-with developing ensemble balance. learn to
tune up octaves, etc.. and above all. they’should learn that there is
nothing wrong with playing 2nd or 4th trumpet for a living,
Clement Volpe: The basic instrument of the trdmpet section of
the Minnesota Orchestra is the,C trumpet, and it is one of the few
30
orchestras that uses the C trumpet as the basic instrument of the
trumpet section. ,The section also uses rotary-valve trumpets for
the German repertoire, and cornets for those French works that
call for thetn.
The section then played a number of excerpts. including the
chorale from Brahms’ Academic Festival Overture, the first time
on the piston-valve C trumpets, the second time on rotary-valve
trumpets.
In the question session followin g the presentation, Schlueter
dropped a bombshell when he mentioned that he used a mouth-
piece with a I6 throat for normal work, but that he used one with
an II throat for the rotary-valve trumpet. He also said that he
used a mouthpiece with an I I throat with the piccolo trumpet.
When asked about transposition, he said that transposition
should be introduced as early as possible, and favors the system of
transposing by clefs. He uses the Ernest Williams method to teach
transposition. He also uses etudes to keep up his skill, naming
Arban. Goldman, Charlier.
The section capped off the presentation with a stirring rendition
of the finale to Ravel’s Bolero.
Walter Myers ~ Clinic: “The Piccolo Trumpet”
Walter Myers, Professor of Trumpet at Wichita State University
and Principal Trumpet of the Wichita Symphony Orchestra, pre-
sented an interesting and entertaining session on the piccolo trum-
pet. Citing the present era of piccolo mania as evidence of the
need for a pragmatic, practical approach to the study of the instru-
ment, he mentioned that one used to speak of periods of develop-
tnent of the piccolo trumpet, one being “A.A. - After Andre,” to
which one is compelled to add “S.S. - Since Schwartz.” Myers
also mentioned several names by which the piccolo trumpet has
gone-sopranino trumpet, ‘Bach trumpet, petite bugle, and, more
recently and colloquially, “hernia tube.” (To which I must add the
story of a certain professional trumpeter-who shall remain name-
less-who, when asked by a non-musical friend what he called the
tiny trumpet in his case, replied, “I call it salvation!“)
Myers pointed out that the “lost art of clarino playing” was not
really lost, but merely de-emphasized and unpopular, citing a
contemporary review which mentioned Weidinger as a clarinist.
The first true piccolo trumpet was probably a small comet in
high B-flat invented by the Prussian bandmaster Weiprecht in
1838. Berlioz also mentioned a piccolo C and B-flat saxhom in
his treatise on instrumentation of 1849. In 1884, the German
virtuoso trumpeter Kosleck used a striight trumpet in high A with
two valves to play the first trumpet part in Bach’snluss in B Minor.
But for many years the solution to the problem of the high
Baroque trumpet parts was either to play them an octave lower
or to farm them out to other instruments (E-flat clarinets, soprano
saxophone, etc.).
Most of the rest of the clinic was a discussion of equipment. He
demonstrated Getzen. Muhillion. Couesnon. Schilke, Selmer, and
Yamaha piccolo trumpets. Several innovations mentioned were the
Louisville leadpipe, Bob Recvcs’ method of alignment of the valve
ports for improved intonation and response, and Schifke’s new
variable bore design which allows intonation to be corrected
through minute changes in bore size.
Some mouthpieces that he has found useful on the piccolo
trumpet are Schilke numbers l4A4, 11A4, and 5A4. Bob Reeves
numbers I, 3, and 3 shallow and extra shallow and his number 69
backbore. and the Giardinelli Zotolla model and the shallow cups.
In the Bach mouthpiece line, he finds that the C. D. and E cups all
work. but that some of his students are getting excellent results
with C cups, particularly if the parts are not too high. The larger
the mouthpiece and bore: the flatter the upper harmonics will be.
A larger backbore darkens the tone.
 Mutes are a problem on the piccolo trumpet, and the thickness
of the corks is critical. The Tom Crown mute works well on the
Schilke piccolo trumpet. Myers said that he plays the Goldenberg
& Schmuyle section of Pictures at an Exhibition with the Schilke
piccolo and a Crown mute.
The proper embouchure on the piccolo trumpet is a very indivi-
dual matter. The player should try for a warm tone, which means
that he should use as large a mouthpiece as possible without sacri-
ficing range or endurance.
Tuning is always a problem on the piccolo trumpet. The over-
tone series tends to be stretched, which often necessitates compro-
mise tuning.
Articulation, which can also be a problem on the piccolo, needs
to be in proportion to the size of the instrument. One should
tongue higher in the mouth when playing the piccolo trumpet, and
use a softer “der” attack when playing Baroque music. In slower
tempi, one should connect all notes, and in fast tempi, the notes
should be connected .with a normal attack, striving always for
smooth articulation.
The twentieth-century literature for the piccolo trumpet has its
own method, which is basically more aggressive and requires a
more pronounced style. Myers then listed some of the contem-
porary music for the piccolo trumpet.
Glenn Stuart - Concert with the University of Illinois Jazz Band
Glenn Stuart, well-known lead trumpet player from Redondo
Beach, California, played an excellent concert backed up by the
University‘of Illinois Jazz Band under the leadership of John G’ar-
vey. Stuart is a giant of a man who almost literally overpowers the
trumpet, and presented a dazzling display of power and high range
that left most of the audience wondering “how can he do it,” or,
more to the point, “how can he do that without injuring himself?”
He shifted styles ‘from the extreme high range of Child of Ecstasy to
his flugelhom solo in Time for a Change. It was particularly in-
teresting to note the difference between the incredible power ‘of
Stuart’s playing and the more restrained, fluid style of Marvin
Stamm, which is probably the difference between a lead trum-
pet style and a studio style.
A. Keith Amstutz - “A Videofluorographic Study of the Teeth
Aperture, Instrument Pivot, and Tongue Arch and Their ln-
fluence on Trumpet Performance”
Keith Amstutz, Professor of Trumpet at the University of South
Carolina, has made a scientific study of what happens inside a
trumpeter’s mouth during performance. The original work was
done- by John Haynie at North Texas State University and con-
siderably expanded by Amstutz in his doctoral dissertation.
The main feature of Amstutz’s presentation was a movie he had
produced which tied together all the research, and which made
some points about trumpet playing very obvious. First, the tongue
arches for higher pitches and flattens for lower ones. Second, the
wider the interval’played, the more obvious is the pivot of the
horn. Third, there is a greater amount of change inside the mouth
in slurring than in tonguing. Fourth, the teeth aperture decreased
as pitch ascended, and vice versa.
Using this information, a teacher can correct an extreme change
in one area of a student’s playing by getting the student to make a
corresponding increase in another area. The tongue arch channels
the air and is responsible for giving the air fast motion. The direc-
tion of the tongue motion should be toward an’?Z sound instead
of an “eh” sound.
Glenn Stuart - “The Art of Lead Trumpet”
Glenn Stuart received the B.S. degree from Ithaca College and
the M.A. degree from New York University, and has taught in high
school and junior college for thirteen years. He said that his’main
31
concern was the “money notes” on the horn-the notes one must
play to make a living. Register, endurance;and range are impor-
tant;.: but not all-important. He also cautioned that some things
work well for him, but may not work well for others. He men-
tioned, too, that when one is playing lead in a jazz orchestra, it
makes a great difference whether one is playing live, or into a
mike. If the performance is live, then projection is left to the
player.
The most important thing about being a lead trumpet player is
the capability to understand jazz and swing, and to understand
what the music is supposed to say. Jazz demands a very individual
relationship to the music. The interpretation falls on the lead
trumpet player to be transferred to the audience. Very little of
this understanding can be taught; it is up to the player to have the
natural feeling.
He emphasized that the embryonic lead player should try to
play a lot of music, and that he should certainly study with some-
one competent. The student should also listen to as many lead
players on record (or live) as possible.
In reply to a question about how he gets in shape for a show,
Stuart answered, “Lots of practice.”
Air is extremely important in playing the trumpet, particularly
in playing the lip trill. Stuart thinks that the term “lip trill” is a
misnomer, and quotes Maynard Ferguson, who said, “I use a
vibrato.” The air and tongue, both, are moving, and the lips should
move with the tongue and air. One should think of throwing tones
up on top. It is basically a vocal sound-singers did it first.
In the extreme high range the air goes in very fast. The question
then becomes: Is the-throat and backbore long enough to give you
enough resistance? One should use a longer throat so that there
will always be the feeling of something coming back in the upper
register.
Don L. Smithers - “The Cometto and the Baroque Trumpet”
Don Smithers is well known to the trumpet-playing community
as a .performer on Baroque and piccolo’ trumpets and cornetto,
and, in addition, as a scholar who has produced an outstanding
book and several articles dealing with the trumpet, its music, and
its manner of performance in the Baroque period. Smithers made
the statement that the original instruments, examined by means
of various scientific instruments, show perturbations in their
bores, unlike the modern copies, which are simply smooth tubes
on the inside. He also mentioned that the Tromba da cucciu is a
reality, citing certain manuscripts in Vienna bearing such a desig-
nation.’
The main questions he brought forward were: I) What was the
timbre of the Baroque trumpet? 2) How was it meant to be used?
and 3) How do the lips work? He revealed that he had not played
the piccolo trumpet in a year, because he found that it interferes
with his performance on the natural trumpet.
One of his main concerns was the non-harmonic (or extra-
harmonic) notes that are found in the music of certain Baroque
composers, particularly Bach and- Fantini. Fantini, in his trumpet
method, introduced some notes that do not belong to the over-
tone series. Smithers feels that by trying -to sustain them, one
might build up one’s embouchure. A good example of the use of
extra-harmonic notes is in the aria from the first cantata of Bach’s
Christmas Oratorio, in which the trumpet must trill d’ to c’. Ac-
cording to Smithers, in playing any of the extra-harmonic notes on
the Baroque trumpet, one must be as relaxed as possible, because
the notes tend to disappear as soon as any tension develops. When
you attempt to play loud, you lose the extra-harmonic tones.
” His research into the timbre and proper performance on the
Baroque trumpet has also led him ‘into the question of mouth-
pieces. He played part of the trumpet part to Bach’s Cantata No.
51 twice, using first a shallow mouthpiece, and then a deep one.
The shallow mouthpiece tended to splatter the notes, while the
deeper one had a more forceful tone. His conclusion was that the
bigger mouthpieces were better.
As an interlude, Smithers talked a bit about the cornetto, and
played part of a Hingeston Fantasia on one. For a long time‘he
used a centered embouchure with the cornetto, but no longer. He
feels that the instrument belongs on the right side of the mouth.
Smithers also brought out the fact that the long trutnpets were
loose and flexible, with no rigid bracing in them. He also feels that
the coiled Jiigertrompete which Reiche is holding in the famous
portrait by E. G. Haussmann was held in a semirigid state by pitch
between the coils.
What sort of embouchure was used on the trumpet during the
Baroque period? Some of the Baroque trumpet players were old
men and didn’t have any teeth. Such players would have cultivated
a very relaxed embouchure, and that relaxed embouchure led to
extra-harmonic tones, Most of the partials of the overtone series
can be bent down to a certain degree. but not up. He also feels
that players in those days did not fluff over notes, i.e.. the de-
mands of accuracy were as great in the Baroque pe’riod as they are
today.
Both tongue and throat articulation were used on the Baroque
trumpet, although the throat articulation is softer than a glottal
click. Most players of the day used a singing articulation. as re-
ported by Fantini. Altenburg, and others, to articulate the trum-
pet.
He concluded with a performance of the first movement of the
Telemann Concerto in D (for trumpet, two violins. and continua)
exhibiting beautiful tone and phrasing. In all of his musical exam-
ples. Smithers was very ably assisted by organist William Neil.
Ray Sasaki - “The Art of Jazz Improvisation”
Ray Sasaki is an exceptionally talented and versatile young man
who teaches trumpet at the University of Illinois. and who seems
to be competent at almost any kind of music, from the symphonic
literature to -Dixieland jazz. Sasaki stressed the pedagogy of jazz
playing, which he divided into three parts.
1. The Idea-which is a part of the listening environment. The
student should ,do a great deal of listening, not only to the notes,
but to the music. The student should also be conscious of how the
artist hits a note? and how he releases that note.
2. The Translation of the Idea to the.Instrument-which is most
difficult to attain. He uses solo transcriptions and reties heavily on
eartraining so that the student can do his own solo transcriptions.
The student is then encouraged to analyze the transcribed solo to
see just what the artist has done.
3. Reality-which is a product of number 2 above.
It is not the notes that count. but what is inside the notes and
inside the player that counts. We should not limit ourselves to lis-
tening to just- trumpet players, but we shottld try to listen to and
imitate’any good jazz performer. Jazz playing should not be an
excuse for’slacking off on your instrument. Flexibility is itnpor-
tant in jazz-you must have flexibility. You can’t be a good jazz
player or a good symphonic player if you can’t play your instru-
ment.
Sasaki also gave four tips for students interested in becotning
good jazz players: I) Play in (small) ensembles as often as possi-
ble: 2) Pick a .favorite tune (a blues, for example), and play
through it over and over. You’ll find at first that it is hard to be
creative, but as you keep .repeating it, you will begin to expand
your creativity. .Do it in all keys: 3) Consider proper phrases and
cadences. Try inserting.certain licks (there is a danger in this-it
may make the piece too disjointed); and 4) Vary your phrases-
players tend to play.four-bar phrases forever.
32
Backed up by three talented University1 of Illinois students,
Sasaki concluded his session by demonstrating his interpretation
of a blues on the flugelhorn.
The United States Army Brass Quintet
The United States Army Brass Quintet from the Army Band
in Washington, D.C., presented a varied concert that was one of
the high points of the Conference. The fact that these five profes-
sional performers are playing together constantly was evident
throughout the concert, particularly in the ensemble feeling of the
group. It was interesting to hear a truly professional quintet, since
most brass quintets are faculty groups whose members are not
primarily paid to perform together, and, indeed, who must often
snatch rehearsal time whenever and wherever they can find’it. In
any event. the Army Brass Quintet delighted the audience. It
would be nice to hear from them again at another Conference.
Timofei Dokshitzer
Timofei Dokshitzer is one of the most outstanding trumpet
soloists in the Soviet Union today and certainly the one best
known in the West. At the Conference he spoke (through an
interpreter-he speaks no English) on the subject of performance
practice.
The sound of the trumpeter can be broken down into various
parts. each of which was discussed separately.
First is the attack. Dokshitzer said that he considered that’the
foundation of the attack consists of the letter “T”. Only by
commencing the sound in this manner once we have taken a
breath will the sound be produced correctly. He rules out the use
of a breath attack.
There are two ways of ending the sound. The first is by means
of the tongue. which shuts .off the air as a valve. The second
manner of ending the sound is without the means of the tongue.
Both methods are used, but the second is most frequently em-
ployed. This method of ending the tone without the aid of the
tongue opens up new opportunities for the player to connect
sounds. If one uses the tongue, the. breath will always break the
phrase. A player in an ensemble who ends with the tongue, will
destroy the ensemble and stick out. Legato, then, is a connection
of sounds; a type of connection where the individual notes are
underscored.
Frequently a player is in complete control of the trumpet, but
there is no music in his performance. It should be remembered
that technique is only a vehicle for expressing the music of a work.
One of the most important things to remember is that the making
of music begins with reading the notes of a musical text. Dokshit-
zer then played as an example the opening motive of the Arutu-
nian Concerto in which some players erroneously introduce a
fertnata on the sixth note-a fermata which is not there. He said
that the move to f” requires an adjustment: it does not feet right,
which may account for the introduction of the fermata.
The question of sound is the question of all time. Why are we
unmoved by some musicians? Sound has a particular effect on
the listener when it is varied. A uniform sound expresses’little
emotion. Sound (volume) must change constantly, however,
Dokshitzer believes that the performer should never show his
limits.
Young players may want to ornament the sound by artificially
introducing. a vibrato. ‘Dokshitzer cautioned against excessive
vibrato. and said that the actual exhalation of the breath has
fluctuations which are natural. One should use that as a point of
departure. as such a natural vibrato is better than an artificial
vibrato.
It is difficult for many players to play rhythmically. One
should feel the underlying pulsation of the music, which may not
 be a division of the.measure:In .the Hummel, for example, one
should subdivide the quarter notes into eighths, holding oneself
back from speeding up. This is the difference between correct and
incorrect interpretation. Rhythm has to have B pulsiting sensation.
-If those pulsations are haphazard, they lose their effect.
.Tenipo is also an element of the performer’s interpretation.
Determining tempo is a part of one’s interpretation of a piece. He
has a theory that in fast, music it is always necessary to seek
repose. There must never be.a sense of busyness or of loss often-
,sion. The. oppoSite is true of slow music. We must always seek
motion..The challenge in slow music is to avoid a sense of languor
and to find excitement:
The different registers of the trumpet present problems to the
-performer. The sound is increased in the high register; it is de-
creased in the low register. It is the task of the performer’in the
high register to take these acoustical factors into account. It is
important to keep something in reserve, always. As Dokshitzer
put it, “To play loud is not a sign of mastery, necessarily.”
In the low.register, one should never be afraid to play with a
solid sound, since the low register, by itself, will not sound loud.
After playing,an,example showing what a flabby tone in the. low
register is like, he commented, “I am denying myself the oppor-
tunity of saying something through the music.”
Dokshitzer concluded .by saying that the way to mastery lies
in these simple things.
In the question and answer session that followed, he was asked
what the curriculum for a trumpet student in a Russian university
is. In reply, Dokshitzer said that the student enrolls in solfeggio,
harmony, piano, conducting, orchestration, chamber class and or-
chestral class, music history and literature, general education, and
political education. The student has 2 lessons (1 hour each) per
week with the trumpet instructor. (First year students and seniors
have three hours per week with the instructor, others only meet
with him twice a week.) The student performs at student concBrts
three times per year and then performs a final exam, which we
would call a jury. He also performs for other student concerts and
juries, during. the. year. The. outline of a trumpet lesson is very
similar to that used in this country. The professor gives an assign-
ment, and the.student must show that he has done, that work.
There is analysis of what the6tudent has accomplished, and then
the student gets a new assignment. The student performs in the
lessons with a piano accompaniment.
Etudes are used a great deal; since the etude is the simplest con-
struction of a musical-phrase. Some are learned by heart. Brandt
and .Arban are. used a lot. Dokshitzer mentioned that since be-
coming a member of ITG he has become aware of many new etude
books. Memorization is.also stressed. All solos are performed with-
out music.
In the Soviet Union, when an orchestra has an opening for a
trumpet player, there are competitibns at which the best players
are selected.
In response.to.Xquestion about the teaching load for a trumpet
teacher in a conservatory, he replied that he had between 12 and
14 students at any ‘one time. Soviet musicians use American,
French; or Japanese instruments, which are provided by the
government. He uses an American-made trumpet. In Russia today
the main instrument is the B-flat trumpet because of the facts of
historical development: He admitted, however, that it is becoming
rnqfe and more necessary to use higher trumpets in orchestral
situations.
In answer to a query as to how he views American trumpeters,
he said that ,Americans concentrate too much on technique, which
tends to obscure musicality and emotion. He expected to see more
major solo performances:
33
Another question focused on his earlier statement about the
undesireability of the breath attack. He referred to what he
termed the well-known malady among brass players of beginning
the%o&d with the breath. He does not consider squeezing-out of
the sound to’be a.professional technique. This, according to him,
results in a manneristic sound which we, as teachers, struggle
against and not always successfully. It was probably on this point
alone that communications between Timofei Dokshitzer and his
audience broke’ down. He gave some very poor examples of a
breath attack, but he has obviously never heard it used well by an
outstanding performer.
He evidently feels strongly about the connection between sing-
ing and trumpet playing, because he had suggested the addition of
solfeggio to the course of study at the Institute where he teachqs.
To him, the ability to produce vocally is important:When he was
a child, he studied at the Children’s Institute ai the Moscow Con-
servatory, and his favorite subject was chorus. He &es vocal music
in his teaching at the Conservatory.
In spite of the language barrier Timofei Dokshitzer came across
as one of the outstanding musicians of our time. The audience was
obviously enthusiastic about him, and g&e him the.warmest recep-
tion of the entire Conference.
Student Mock Orchestra Audit@ Contest
The student -mock, orchestra audition contest was designed to
give some of the talented students a chance to go through an or-
chestra audition, performing some -of the same excerpts that they
would be performing if they were a&ally.auditioning fbr a desk
in one of the major symphony orchestras. The finalists were
chosen from audition tapes submitted earlier. The contest was in
front of the entire conference, and it was, to say the least, an ex-
tremely stressful situation for the finalists. It was quite instructive:
and indeed, almost scary, to see’the high caliber of student talent
on display.
Every contest must have a winner, however, and in this case.it
was Brad Boehm, a student at Northern Illinois Uniiiersity, whose
brilliant rendition of the excerpts from Bach’s Brandenburg Con-
certo A’o. 2 ‘brought a round of applause from the audience.
Although Boehm won the contest, there really were no loseti,
becalise all of the students demonstrated a great deal of musical
ability and poise, and the experience gained in this contest will
certainly be of value in their later careers.’
Student Solo Contest
The Student Solo Contest produced a wide range of solo styles,
although all of the works presented were from the twentieth cen-
tury, and again the students proved that there is a great deal of
trumpet-playing talent at the undergraduate level in our universi-
ties. It certainly must have been difficult for those students to
walk out on stage and perform some of the most difficult works
in the solo trumpet literature in front of an audience of five hun-
dred trumpeters, most of them professionals and teachers, but the
students all did very well, and all demonstrated a high standard of
preparedness and musicality.
The winner of the $200 prize and plaque was Thomas Schlueter
of the University of Wisconsin-Milwaukee who played the Love-
lock Concerto. As in the orchestra contest, it can be said that if
there had to be a winner, there were no losers. Perhaps we all came
away from these two contests with a greater respect for the com-
ing generation of trumpet players; a generation which will be
ready to join’the ranks of the professionals in just a few years.
Robert Nagel’- “The Trumpet in Church Music”
Robert Nagel was assisted in his presentation by members of
the Conference’s Artist-faculty. Nagel presented music for tiumpet
and organ, and for trumpet ensemble that was, in most cases,suit-
able for performance in church.
Particularly outstanding were his own arrangements. for three
trumpets alone, of chorales and American folk hymns. These
works would be useful for trumpeters who wish to perform in
church without an organist. Another interesting work was the ar-
rangement of Moment by Moment, for flugelhorn, with tape
accompaniment. Although a Hollywood-pop arrangement may be
limited in usefulness in the more orthodox churches, it was beauti-
fully done, and it certainly will find a good reception with some of
the less-traditional congregations.
Other Voices of the Trumpet, by Daniel Pinkham, was an un-
usual composition for trumpet, organ, and prepared tape which is
based on the last three trumpets sounded in the book of Reveta-
tion. It might, however, because of its length and unfamiliar for-
mat, be more suited to recital performance.
One of the most contemporary compositions presented during
the entire Conference was Jere Hutchinson’s Three Portraits of
&tan for trumpet (B-flat and piccolo) and organ. Nagel. because
of time limitations, was only able to perform the first of these
(entitled ‘Satan’s Inferno”), but .from hearing that one move-
ment, I can truthfully say that it takes a trumpeter with a great
deal of ability, strength. and stamina to bring it off. It is much
better suited as a recital piece than for a church service.
Perhaps Nagel’s session was most successful in stretching our
minds and in opening our ears to new music’for trumpet ensem-
ble and for trumpet and organ.
Charles Gorham - “Orchestral Styles”
Charles Gorliam, Professor of Trumpet at Indiana University.
first questioned the trend toward purism in the performance of
Baroque music, asking why trumpeters should play the Bach
Christmas Oratorio on natural trumpets against a two hundred
voice choir and a full string and woodwind section in a concert
hall setting? Piccolo trumpets (those pitched in keys from D to
B-flat piccolo), according to him, have certainly made the per-
formance of the great works of,Bach possible to many who for-
merly found this somewhat of a chore.
Light, flute-like articulation seems to best fit Baroque perform-
ances (not so much the staccato articulation that was once in
vogue) and much freer ornamentation. with trills enhancing
cadential passages.
The Classical style should be marked by crispness and rhythmic
clarity. Brevity in staccato articulation is not necessarily called for.
but regardless of the length of notes? clarity-and crispness of at-
tack-is most important. Here, again, the modern trumpeter is the
beneficiary of years of improvements on the trumpet. One can
imagine the problems involved in playing a Haydn symphony and
changing the key of your trumpet by changing the crook for each
movement. Modern conductors often take the liberty of making
up for the acoustical, limitations of the old natural trumpet by
filling in many lower octaves for the second trumpet where the
player would have had to make some awkward skips in the origi-
nal because certain notes ‘were simply not available. By doing so:
they often achieve better balance and intonation. Even such
Romantic composers as Schumann and Brahms are not exempt
from this practice.
The trumpet really comes into its own in the Romantic era,
however, with the great lyrical solos in the works of Wagner.
Bruckner, Mahler, Strauss, and Tschaikovsky. In the modern age.
composers seem to call for a bit of everything. Stravinsky, for
example, calls fora terse style with repetitive melodic fragments,
ostinatos, mixed multiple articulation, and other techniques which
fit his style of rhythmic energy and colorful orchestration. In
Stravinsky’s orchestra: the trumpet replaces the. horn as the most
important brass instrument, and it is exploited in almost every
34
conceivable way. He used the piccolo trumpet, bass trumpet,
flugethom (or contralto bugle), and cornet, in addition to the
more traditional trumpets.
The basic elements of orchestral style include: tone. endurance,
range, intonation, articulation (releases as well as attacks) and
flexibility, legato control, accuracy, vibrato, terminology, dynamic
control (contrasts), choice of mutes, choice of trumpets and
mouthpieces, section or ensemble co-ordination, off-stage tuning,
transposition, phrasing and breathing, solo style, leadership ability,
and the influences of conductors. In order to illustrate .the above
points, G&ham played a tape recording made from several record-
ings of the opening of Mahter’s Symphony No. 5. He also pointed
out that he had only recently learned the true German meaning of
the footnote concerning the opening solo and the directions for
playing the triplets. having originally thought that the directions
called for the triplets to be rushed.
Gorham then presented several Romantic and Modern orches-
tral excerpts as examples, played by some of his outstanding
students from the Indiana University School of Music.
Marvin Stamm - Concert
Marvin Stamm presented a concert, which showed interesting
contrasts between his jazz style and that of Glenn Stuart.‘Stamm
played with a great deal of sensitivity. and did not go in for’high-
register pyrotechnics; nor did he try to overpower the horn. This
is probably the difference between a studio player and one who is
constantly playing lead trumpet. Because of the illness of one of
its members, the Stamm-Powell Jazz Quin’tet was unable to per-
form as scheduled but local musicians filled in admirably. Of
particular interest., also, was a composition performed by the
University of Illinois Jazz Band, entitled In The Mountains Of
Georgia.
Dr. Arthur H. Benade - “Selecting the Proper Trumpet and
Mouthpiece”
Dr. Benade, Professor of Physics at Case Western Reserve
University, is an authority on the acoustics of brass instruments.
His lecture was concerned mostly with the problem of matching
a mouthpiece to a given horn. His lecture was fascinating, and
proved that acoustics can be simplified on a practical level to the
point that a musician, untrained in the higher orders of math-
matics which are usually a prerequisite to a thorough.understand-
ing of the field. can make use of the principles to improve the
performance qualities of a mouthpiece.
According to Benade, only the rim of the mouthpiece belongs
to the player. The rest of the mouthpiece is a part of the trumpet,
and any changes in the other parts of the mouthpiece wilt produce
a change, acoustically. in the response of the trumpet.
The C trumpet, played open, is basically an air column whose
second partial comes close to vibrating at 260 c.p.s. Within that
air column, frequencies of 2, 4, 6, and 8 times the frequency of
vibration of the original pitch are all reinforcing the embouchure.
This reinforcement is why the horn speaks better when it is play-
ing in tune than when it is being forced sharp or flat. Charles
Schlueter demonstrated this by playing a flugethom with the
shank pulled all the way out, causing the tone to become un-
centered and spread. With the bit in, the tone was centered’and
much steadier.
According.to Benade, if the pitch of a trumpet drifts up while
the player is making a crescendo, the harmonics are wrong. Again,
Schtueter demonstrated by playing a crescendo on g’. The horn
went sharp as volume of tone .increased. Benade then inserted a
small piece of wax in the backbore of the mouthpiece. Schlueter
again made the crescendo, but this time there was no rise in pitch.
To demonstrate certain facts about the construction of mouth-
pieces, Benade asked Schlueter to play the cornet solo from Lt. KiiC
four times, once on each of four different mouthpieces, including
Schlueter’s own. There was quite a difference in tone and intona-
tion between the four mouthpieces, but, although all had been
altered in some, way, all of the plastic ones Benade supplied had a
volume of 3.5 cubic centimeters.
At this point, Benade got into what he referred to as the “POP-
ping frequency’: of the mouthpiece. The popping frequency is the
pitch which sounds when the mouthpiece is popped against the
palm of the hand. A smaller cup volume raises the popping fre-
quency, but a smaller backbore.lowers the popping frequency of
a mouthpiece. Drilling out the backbore, then, will raise the pop-
ping frequency, while closing the, backbore will lower it. If the
horn drifts sharp during a crescendo: the remedy is to lower the
popping frequency of the mouthpiece, either by enlarging the cup
volume, or by closing the backbore. If the horn drifts flat, the
popping frequency of the mouthpiece must be raised, either by
decreasing the volume of the cup, or by increasing the volume of
the backbore., Everyone will play a lined-up instrument at the
same pitch. From an.acoustical point of view, then, filling in the
cup is the same as reaming out the backbore.
Benade also pointed out that from a practical point of view,
you can’t shrink the .throat too much and still play
. . forte..Timbre
charige is often bought at the expense of response, though, parti-
cularly when one goes about enlarging portions of one’s mouth-
piece without a clear idea of the acoustical implications of one’s
actions.‘The timbre of the instrument should be in the leadpipe
and bell. A well-lined-up horn will simply take over an orchestra.
John Aley - Recital
John Aley, co-winner of the 1975 Maurice Andre International
Trumpet Competition, presented the only true recital of the Con-
ference. Very capably assisted by Eric Dalheim’on piano and
Jerald Hamilton on organ, Aley performed a varied program
which included works by J. C. Bach, Hindemith, Honegger: and one
of the ITG Composition Competition Winners, Sollrs (1975) by
Stan Friedman.
.The’two highlights of the recital were, first, a very exciting per-
formance of- the Sonata in E-flat Major for Trumpet and Organ by
J. C. Bach, in which Aley demonstrated his beautiful tone and
technical command of the piccolo trumpet, and second, the
premier performance of Solus, which was new music to many
present, and which Aley carried off very well.
Dr. David Dibbell.- “Can Surgery Improve Trumpet Playing?”
Dr. Dibbell. Chairman’of the Department of Plastic and Recon-
structive Surgery at the University of Wisconsin-Madison Medical
Center, presented a witty and fascinating lecture on the problems
of an incompetent palate causing the loss of air pressure while
playing.
To maintain the high air pressure required in trumpet playing a
soft palate must seal off the throat from the nasal passages in
order to allow the pressure to build up. The tremendous air pres-
sure in the throat can also cause air to escape between the muscles
in the neck, causing a hernia in the throat. But $he’problem which
most concerned Dibbell occurs when the soft palate loses its
strength and flips up? leaking air into the nose. ‘With a loss of
pressure in the mouth, it is impossible for a person to continue
to play.
TO correct this condition, a surgical procedure was developed
which involves lengthening the soft palate so that it can not flip
SO easily. Dr. Dibbell stressed that palate surgery is not cosmetic
but corrective..
Dr. Dibbell’s presentation was far too short for the many ques-
tions the audience had for him. He was very .popular with the
3.5
group: and it is to be hoped that ITG will consider inviting him
back for another presentation at a future’conference.
Ma&n Stamm 1 “The Studio Trumpet Player”
Marvin Stamm, presently one of the top free-lance studio trum-
pet artists’wdiking in New York City; has been a featured soloist
with Stan Kenton, Woody Herman, and has played’ with Buddy
Morrow, Lionel Hampton, Buddy Rich; Charlie Spivak, Frank
Sinatra, andthe Thad Jones-Mel Lewis Jazz Orchestra.
In order to be a top-flight studio player; according to Stamm,
you must be good’at playing all types of music:
The basic requirement is th.at you must know how to play the
instrument well. You must be totally prepared. It used to be that a
trumpeter had to get his experience by going on the road and play-
ing with one of the big bands, but now’ the high schools and
colleges are turning’ out well-prepared players. The student should
perform ‘all types of music. Jazz players should take brass choir,
concert band, orchestra, lab band; and do recitals. The more kinds
of music you can play and the more versatile y’ou are, the more
you will be able to work. ‘,
In the world of studio .playing, time is money. The one thing
you must not do is. cause the session to go into overtime,. for if
you do: you will not be called again. There is no tenure as a free-
lance player. You can be called at any hour to do anything. How-
ever, Stamm does not believe in.extensive.doubling as is done by
woodwind players.
Microphone placement is important in recording. Young re-
cording engineers, brought up on rock music, want to place the
mike too close to the bell. The engineer in the mix room, however.
can make you sound like anything’he wants. Basically; Stamm
likes to. be fsr,enough from-the mike to get the sound he wants.
In studio playing: you iieverrehearse. The usual procedure is
‘to read a chart down .a couple ,df times and then tape it. Three
commercials can be recorded in an:hour.
..
Festival of Trumpets .
‘The Festival. of Trumpets presented, for .the most part. trumpet
ensemble music performed by.a number of,trumpet teachers from
colleges and universities in the mid-west,.some of whom were on
the C.onference faculty. The varied’program’is enumeratedin the
program booklet: Suffice it. to say ;.‘that‘:the performances were
memorableI.: interestinu
,_ ,,. ,,‘:avd..an impressive display of talent by
our colleagues. ._ ,.‘ I :. ’
In spite’. of the problems “undoubtedly :)produced .by the
necessity of putting together such a program it;ha short Span of
time! the Festival of Trumpets was a fitting penultimate concert
for our Conference.
Timofei Dokshitzer - Concert.
Timofei Ddkshitzer performed. the ‘final Conferehce:~progmm
with the. University of Wisconsin Wirid Ensemble, under the’direc-
tion of Eugene Cbrppron. In addition .to the trumpet concertos,
the. Wind .Ensemble performed excellent::renditions of Schoen-
berg’s Th&e;ind Variatioh: and ‘Tech’s Spiel fiir. Blasorchester:
In Dokshitzer’s performarice’of Hummel’s Corkrto’; Ilk vocal
training and singing appro& to the horn was evideot in <hismar-
velously musical phrases! It was’ihteresting to note, however,, that
in <contrast to’ what he had said in’the previous day’s.lecture, his
staccato motives were sometimes rather spitty, and,; occasionally a
sort .of.“tutz’ articulation .became, evident.: His performance was
-similar to..Ghitatla’s version. S&e he ‘was playing a B-Battrumpet,
he took the final trill of the movemerit (g”‘to h”) as a l-3 lip trill.
‘, In the second movement, his singing style once again captivated
the audience. He produced a beautiful crescendo on all long notes.
and demonstrated marvelous dynamic. control throughout. He
used short trills, and on the last four trills of the movement he
added terminations. Strictly speaking, Dokshitzer’s rendition of
Hummel owes more to Tschaikovsky than to Hummel, but when
listening to him play, the consideration is more a musical than a
musicological one.
The third movement provided a contrast, and Dokshitzer’s
clean tonguing and fast tempo captured the audience. After the
middle section, in the parallel minor, he started pulling the tempo
to the end, and finished with a flourish. One interesting thing: in
the section with the turns. that gives everyone fits, instead of play-
ing an upper neighbor. as is proper, he played a lower neighbor:
3 is 1ndiun Lady.2
It was obvious that Dokshitzer felt more at home with Arutu-
nian than Hummel. Perhaps the best description of the perforn-
ante is that it was exciting. In fact, having heard only his recording.
one cannot imagine how exciting Dokshitzer can be in person.
playing the Arutunian. He set a fast tempo in the first allegro, and
carried off the technical aspects without a hitch. For the second
slow section. he used a plastic cup mute. and played very. very
softly-so softly that it was difficult to differentiate the solo tone
from the section tone of the trumpets in the Wind Ensemble (also
cup muted).
The concert closed with a performance of the Manfredini Carl-
cerlo for T\VO Trrtmpefs, arranged by Dokshitzer for 48 trumpets
and piano, and performed by Conference participants under the
direction of Dokshitzer himself.
Without a doubt, Timofei Dokshitzer’s performance was the
high point of the Conference.
Scenesfrom the 1977 ITG Conference (Photos by James Ode)
36
Elements in Jazz Conception
by George L. Hitt _
Glenn Stuart, during his lecture-demonstration at the 1977 ITG
Conference, emphasized the importance of conception as a major
prerequisite for the lead trumpeter. One definition of conception
is the capacity. function, or process of forming or understanding
ideas or abstractions or their symbo1s.l
Mr. Stuart has among his numerous credits a ten year associa-
tion with the Don Ellis Orchestra. One of many, but an extremely
well known recording where Stuart performs the lead trumpet part
A brief examination of several problems en-
countered in the performance of this work and solutions presented
by Stuart in this recorded performance emphasize dramatically
the importance of conception.
Example I. 1tzdim Lady, mm. 120-132.
Example 1, lrldiarl Ludv. is written with a 5/4 time signature
and grouped 6/S plus 2/4. Bends3 and falloffs are indicated in
the example. Among conceptual problems to be solved are these:
I. Where do the bends rhythmically begin and what is the over-
all rhythm?
3. To what pitch does the bend descend?
3. On what portion of the beat does the falloff begin’?
4. On what portion of the beat is the implied ending of the fall?
5. What are the pitches of implied notes at the end of the-fall-
0 f fs ?
A study of the recorded performance practice shows the bend
starting on the second eighth of the dotted quarter note, reaching
the apex of the descent on the third eighth and returning to
pitch rhythmically with the second dotted quarter. The interval
span is a major second.
Example 2. Indim Lad)), mm. I TO-1 21
The polyrhythmic treatment found in this work on the first
sublevel is the triplet subdivision found in swing at a surface level.
The rhythmic treatment of the bend is a grouping of notes into a
long-short division of the compound beat. This is set poiyrhyth-
mically against a steady 5/4 in the rhythm section. A rhythmic
modulation bctwcen duple and triplet eighths in jazz dates back
at least to 1928. An example can be found in Louis Armstrong’s
recording of Nest EIIC/ Bl~res.~
This effect can also be noted in the rhythm of the falloffs seen
in Example I. The falloffs begin on the second half of the quarter
and end on an implied note 6 at the second beat of the measure
although lower parts sometimes continue. The first three of these
arc short and fall about a second in contrast to the second group
of three which ~LIII approximately a perfect fourth. a major third,
and :I pcrfcct fourth, respectively. The small differences shown
in Example 3 whether made by intuitive musical taste, conscious
intellectual decision or a combination of these do affect the music
immensely.
Example 3. It@ian Lady, mm. 120-I 32.
..
Exa,mple 4. Indian Lady! mm. 2 1S-2 18.
Ar wriltkn
Example 4 exhibits a performance technique which closely
follows the written part. The exceptions are stylistic and consist
of internal articulated releases within the motivic figure and the
nptes shortened at the end of each. These motivic endings are per-
formed with tapered releases. Articulated releases are shown by
eighth notes. searticulated, but non-separated, legato is shown
byporfi.,
.These short examples which briefly discuss some matters of
conception so aptly demonstrated by Stuart seem to this author to
bring into questiop one statement made by Stuart during his ITG
presentation. Stuart had misgivings about whether conception
could be,taught. This author suspects that Stuart is an excellent
teacher in such matters.
., Notes
1. Webster?tyew Collegiate Dictionary, 1973.
2 Don Ellis Orchestra(1968); “Indian Lady” by Don Ellis on Electric Bath,
ColumbiaCS 9585.
3.. Bend w -a.device wherethe pitch of a note is alteredor bent after the
specificpitch hasbeensounded.The pitch then returnsto the original.
4 Falloff? -a d&ice where the specificpitch of a note is alteredby a
slidingeffect in a’downwarddiiection.
5 Louis Armstrong and His Hot Five (1928); “West End Blues” by J6e
Oliver and Clarencb’Williamson WestEnd Blues, ColumbiaG30416.
6 Implied note ( ) -a ghostednote which is more implied than actually
played. r ,..
: ,.
The Incompetent Palate:
,A Trumpeting I)isqster
bjr Dayid G . Dibbell, M .D.
Wind players in general and trumpet players in. particular
develop the highest intraoral pressures of any profession. Only
glassblowers can compete.
These pressures reach’as high as 130 mmHg. Most human be-
ings, including those in top athletic condition, are incapable .of
generatin‘g such pressures: The magnitude of the pressure required
for tiumpeting is particularly apparent if one considers that a good
loud shout of the word “Baby” demands only 6-7 m m of pressure..
The generation of high respiratory pressures is dependent on
strong thoracic, abdominal and diaphragmatic inuscles. These are
37
highly ,developed and trained in the, brass player:However, the
sheer ability to generate high respiratory pressure does not make
o~~~~g~od brass player.
It.eay so&d absurdly simplistic, but this air pressure must be
directed solely through the mouth and into the trumpet. The
“lips” upon which most of us dote, supply only the-fine control
of that pressure: It is the palate alone which directs the air flow
through the mouth. If such a statement sounds peculiar at first,
it must be remembered that air pressure and air flow from the
lungs and trachea can exit either via the mouth or the nose. It
is the soft palate (and a strong one indeed) which shuts off the
nasal air passagefrom the oral passageon command.
The soft palate is, in effect, a trap door with agility. Even in
normal speech certain sounds can ohly be produced when there is
no leakage of air pressure from the mouth through the nose. Such
sounds are the “k” in kitty-kitty and the “b” in baby. Even at the
low pressures of normal speech inappropriate leakage can distbrt
the production of these sounds badly enough to make communi-
cation confusing.
Imagine then the impossibility of playing high or loud notes on
an instrument if 50% of the pressure generated is leaking through’
one’s nose.,becauseof a short or wtak palate between the back of
the mouth and the back of the nose.
Certain people are born with incompetent palates. The severity
of the incompetence may be highly variable. Some leak air so
badly through their noses that sp’oken words are completely Ln-.
intelligible, while others are merely incapable of blowing up gal-
loons or blowing a whistle. Others may only develop leaks under
great stress-such as attempting to play a wind iristrument.
It is unlikely that anyone with a condition described above
would ever take up a wind instrument (although these basic de-
fects are frequently correctable). However, it appears that some
individuals who begin w,ith perfTFt!y competent palates may learn
to play a wind instrument and progrdss a long distance through a
serious career only .to’ develop late incompetenc,e-‘disastrously!
Why this occurs is not known. Perhaps palatal incompetence be-
comes apparent when they begin to play the most difficult music;
perhaps prolonged and difficult playing can precipitate a fatigued
and ‘temporarily incompetent palate. Perhaps an infection coild
do the same. Surely the sudden onset of so-called “Deab Chops”
which comes on particularly after jam sessions, usually. involves
high notes? and frequently self-corrects with abstinence from
playing, might not be because ‘of lip problems, but could be
secondary to an over-stressed and leaking palate. We should note
that players who develop stress incompetence can still play weil in
the lower, quieter registers.
Here at the .University qf Wiscbnsin he have recently treaded
two excellent young musicians, an oboist and a trumpeter, whose
careers were felt to be finished when they developed stress incom-
petence of their palates. In the case of, the oboist? a constant leak
of air through the nose prevented her frpm playing the long phras-
eology required in oboe literature. (This despite the fact that oboe
pressures are less than one-half those required for trumpet.) The
trumpeter, as one might expect, was quite unable to play “high
and hard.”
For years plastic surgeons and ,spee’ch therapists have been
developing sophisticated quantitative and visual techniques to
study- children with incompetent palates who are unable to speak
properly. It seemed that such techniques cquld be .applied to ,the
diagnosis and possible treatment 0; these two music’ians, with the
aim of salvaging their careers. ‘Accordingly, Dr. Stanly Ewanowski,
of our Department of Communicative Disorders, was able to
de,monstrate by flow,ana pressure:studies-as well as x-ray movies
of ihe palate-that trlie incompetence of the palate existed and
was the cause of their technical difficulties. Briichle, Bernhard. Afusic Bibliographies fix All Imtr~~mnt.~. Bern-
.Additionally, careful examination of the x-rays suggested that hard Briichle, 1976. (Bernhard Briichle Edition. Postfach
one of the standard s~~rgical operations for correcting nasal leak in 700308, D-8000 Miinchen 70, West Germany) 96 pages, hard-
children with speech defects might well solve the musical problem. bound in German and English. ($3.95)
Both of these musicians requested the surgical procedure. Six Enrico, Eugene. The Orclmtru ut Sun Pctrorlio in the Buroq~w Era.
weeks after surgery both were able to play their instruments with- Smithsonian Institute Press. 1976. (Available from Superinten-
out difficulty from lack of air pressure or volume: the trumpeter dent of Documents, U.S. Government Printing Office, Washing-
high and hard, and the oboist long. ton, D.C. 20402. Stock Number -147-001-00126-5) 64 pages.
-.
The concept of the operation is quite simple. First. it lengthens paperbound. (S 1.55)
the palate (to create a larger, more obstructive “trap door”). Se- Farkus, Philip. The .4rt o.ftl~ltsiciuns/~il~. Philip,Farkas, 1976. (P.O.
condly: it creates a bridge of tissue from the back of the throat to Box 66, Bloomington, Indiana 47401) 51 pages: paperbound.
the soft palate (to buttress a weak palate and increase the strength (S7.95)
of the closurci. Tarr. Edward. Die Trorfrpete. Hallwag. 1977. I43 pages. hard-
The incompetent palate in speech problems is a well known bound. in German, Includes recording. ($1 2.00) Available in
entity. But the incompetent palate as a cause of inability to play the U.S.A. from The Brass Press: I48 .Eighth Avenue North.
a musical instrument is relatively unknown among physicians and Nashville. TN 37203.
musicians. Because of this the University of Wisconsin Medical
Center is willing to study any musician who may be having such a Reviews
problem.
Paul G. Anderson. Brass Solo U/ICI Stud); Material Music Guide.
It cannot be claimed that all trumpeters who begin having trou-
Tile Instrumentalist Company. 1976. (‘I 4 IS’ Lake Street.
ble with high notes possess leaking palates: nor can it be claimed
Evanston. Illinois 60204) 237 pages. hardbound. (S I I .OO)
that if’they do, an appropriate surgical procedure will cure the
This book is one of the growing number of ‘music guides”
problem 100% of the time. However. if a promising or established
cmcrging in recent year-s. It ~ncludcs information on study
musician develops difficulties which could be injurious to an
materials and solos pul~l~sl~cd for- brass instruments. A second
otherwise successful career hc should mvestigate the possibility
volume is projcctcd which will include rnformation on ensemble
that a correctable incompetent palate is not his macnlltl.
music for brasses. but the present volume is confined to solos,
For further information. contact: David C. Dibbcll. M.D..
methods. ctudcs. csccrpts. and tcc‘hnique books.
Chairman. Department of Plastic and Reconstructive Surgery.
There arc two parts to the book. Part I is trtled “Category In-
Untversity of Wisconsin Hospitals. I300 University .Avenue. Mad-
CleS” and in~ludcs I45 pages of works listed alphabetically by
5011, W~SCOIIS~II 53706.
composer or author within the appropriate genre. The genres are
catcgorizetl according to study material or solo: instrument. type
of study (excerpts. method. etc.). or. in the case of solos, by the
Book Reviews type of work and accom),anilnelit. For example. o’ne would find
Clarke’s Teclr~zicul Stl/t/ie.s for trumpet under the headings: “Study
Kim Dunnick, Editor Materials: Trumpet: Etudes.” .4 Handel aria arranged for tuba and
piano wo~rld be listed under: “Solos: Tuba: Solos with Piano
~~cco111))allinlcllt.” Following each listing in this section is a code
The following IS a list of books which have been recctvcd for number which can be LIX~ to look LIP the publisher’s name and
review. All books received will be listed in each issue of the address in a table at the end of the book.
i\~e%~le/re~. Books will be selected from the Books Reccivctl list Part II: titled “Composer Intlcx” lists. alphabetically by com-
for feature reviews. .All ITG members are invited to participate as poser. all the works which appear in Part I. Each listing in this
reviewers. Please wrote to me stating your qualifications and arc:) section is followed by a code number which indicates where the
of interest. Persons able to review non-English language books arc entry is locatctl in Part I.
needed. A specific title may be requested from the list below. h,Ir. Anderson compiled this work with the aid of a computer.
Reviewers should be prepal-cd to submit typescripts. Thougl~ In fact. the body of the book is a copy of the computer print-out
every effort is made to present accurate. objective. comprehensive pages. This has certain advantages. as well as disadvantages. It will
reviews: it should be noted that the opinions expressed are those be very easy to keep the work current by adding or deleting
of the reviewers. and do not necessarily coincrde with those of the entries to or from the computer program. And, by using a two or
editorial staff or the ITG as a whole. more line format. much more information could be’added to the
Books for review and correspondence should be sent directly to entries. However. the computer’s type is all capital letters without
me at the following address: Kim Dunnick. ITG Book Review. italics or diacritical markinpr. T~LIS. tumes with two capital letters
h4usic Department. Tennessee Tech University, Cookcville, Ten- and foreign language titles appear in all capital letters. and without
nessee 3850 I. accents, umlauts. etc. -\nother disadvantage to the use of the com-
puter format is the use of code numbers rather than page numbers
in the “Composer Index.” These classification codes can be annoy,
Books Received
ing when searching for a certain work. Page numbers would be
Anonymous. !Votutionul’C;Llide for Corltemporur~~ Tmrqxt. Tram- much more specific and faster to LISA. as some of the classifications
ba Publications, 1976. (1859 York Street. Denver, Colorado take up more than thirty pages.
80206) 6 pages, paperbound. (S3.00) Notei This pamphlet is This music guide is very lengthy and complete as far as the num-
also printed as the first part of Corzrer?~/~oruq: Truri7pct Stlldirs ber of cntrics is concerned. It is well set up and fairly easy to ~rse
by Alfred Blatter and Paul Zonn. as a reference tool. UnfortLinatcly:tll~ information it provides is
Baines. Anthony. Bruss Imjtnrmertts. Their Hisroy: uncl De~vlop very limited. It tells the reader the composer. arranger (where ap-
mmt. Faber & Faber, 1976. (3 Queen Square. London. \VCIN- plicablc). instrument (and accompaniment where applicable),
3AU) 298 pa&~. hardbound. (I 2150 pounds) title tsometimes abbrcviatcd to fit the one line format). and pub-

38
lisher (including address). If one needs more information, such as
dates, timings, difficulty ratings, price, number of movements,
etc., he must look elsewhere. (K.D.) ..
Bernhard Briichle. Music Bibliographies for All Instruments. Bern-
‘. hard Briichle, 1976. (Bernhard Briichle Edition, Box 700308,
D-8000 Munich 70, West Germany) 96 pages, hardbound, in
German and English. ($3.95)
Of the 297 bibliographies listed (which constitute the major
portion of this book), nearly ten percent are of direct interest to
the. trumpeter. For example, The Trumpet in Chamber Music
Other Than Brass Ensemble by Mario Oneglia and A Thematic Dic-
tionary and Planning Guide of Selected Solo Literature for Trum-
pel by Donald J. Echelard.
Mr. Briichle’s inclusion of publishers’ current addresses is less
complete than would be expected, even though he expressly
makes no claim of completeness in the foreword. Addresses of 57
societies and special journals, six of. which directly concern the
trumpeter, enhance the publication, as do the 3 1 entries of biblio-
graphic references and the twenty listings of music information
centers.
Briichle declares in his foreword that his book is intended ‘?o
foster an ,international exchange of information among musicians,
composers, and bibliographers.” To aid this exchange, he has
translated the essential information of each entry into English or
German, respectively. Thus, Music Bibliographies for All Instru-
ments can readily be used by a reader fluent in either language.
It is a book which definitely belongs in every institutional library.
(Bruce Rhoten, North German Radio Orchestra, Hanover)
Norbert Carnovale. Twentieth Century Music for Trumpet and Or-
chestra. An Annotated Bibliography. The Brass Press, 1975.
55 pages, paperbound. ($4.50 plus 25d postage)
(Book Review Editor’s Note: Due to changes in the Journal’s edi-
torial staff, .two reviewers were inadvertently assigned to this
book. Both reviews have been used as they are relatively short.)
Norbert Carnovale has done a splendid service to all serious con-
cert trumpet players and teachers.with this sixty page booklet. He
has listed 179 compositions. All but five are for trumpet solo and
orchestra. The remaining five works (Casterede, Copland, Defay,
Hindemith, and Rivier) are for a.co-solo instrument-either English
horn, trombone, bassoon, or saxophone.
Despite. an abundance of detail about almpst all the listed works
(dates of publication, dates of first performance. etc.) there are
some annoying omissions. Eighty-eight items give no “duration”
rating. Some are merely labeiled “short.” Curiously there are dura-
tion figures for some recondite trumpet works while there are
none for some quite popular and easily accessible solos (Bonneau
Suite, Fitzgerald Concerto, Giannini Concerto, Vidal Concertino).
While Carnovale lists seven works for which recordings are avail-
able, he fails to include the Timofei Dokshitzer recordings of both
the Arutunian Concerto and the Vainberg Concerto.
One hundred and sixty-five solos are rated as to difficulty;
Grade I (easy) to Grade VI (difficult). Why are the other fourteen
not so rated? There is real value in owning and using this biblio-
graphy. Perhaps a later edition will include the omitted details.
(Harry B. Herforth, Kent State University)
As part of the Brass Research Series, this annotated bibliogra-
phy is based upon a 1973 doctoral thesis. It is concise work of
fifty-five pages alphabetically listing 179 works originally written
for trumpet and orchestra from 1899 (Bohme Concerto) to 1972.
The majority of the works cited are published and are presently
available.- While jazz influenced works are included, “Pieces
written in a ‘popular’ style or exclusively in the jazz idiom have
been excluded.” Each entry includes composer’s dates, nationali-
39
ty, date of composition, key of trumpet part, piano reduction (if
available), publisher, date of publication and recording (if any).
Also included is a paragraph discussing each work and composer,
followed by‘a grading of the work, range requirements, and time
duration. Index lists include publishers’ addresses (and other
sources), a bibliography of resource texts. and forty-nine recom-
mended compositions that are graded as to difficulty.
This text ‘should prove a most important addition to the in-
formed trumpeter’s library. While most of USare ,familiar with the
major works (Tomasi, Arutunian, etc.), how many are aware of
the lesser known concertos, such as the Delden Concerto or Schil-
ler Konzertl
As an extensive resource for the twentieth century development
of trumpet literature, this text makes helpful reading for those
seeking appropriate literature at various student levels as well!as
potential. performance possibilities of less familiar works for the
advanced. musician. A further addition, for historical reasons.
could have been a chronological listing of the repertoire included
in the text. Perhaps Mr. Carnovale could include this in a future
edition; even consider adding a further section on solo trumpet
and winds (band). as many of us have more opportunity to solo
with band than orchestra. Two minor suggestions for an otherwise
excellent text.
Don’t let the title frighten YOLIaway from this purchase, for as
the author states, :‘a substantial number of the works could be
performed in recital from piano reduction.” Thank goodness for
those piano reductions! (Charles Decker, Bemidji State University)
Eugene Enrico. The Orchestra at San Petronio in the Baroque Era.
Smithsonian Institution Press (available from the Superinten-
dent of Documents, U.S. Government Printing Office. Wash-
’ ington, D.C. 20402) 1976. 64 pages, paperbound. ($1.55)
Most trumpet performers are familiar with the names Cazzati,
D. Gabrielli, Jacchini, Manfredini, and Torelli. as they are cpm-
posers of Baroque trumpet works. More specifically, they are all
part of a group of composers who were employed at the Basilica
of San Petronio in Bologna asperfomrers and/or conductors dur-
ing the late. Seventeenth and early Eighteenth Centuries. The com-
posers of the “Bolognese School” were largely responsible for
setting the style and form of the Baroque concerto. Indeed. the
trumpet works of this school made significant contributions
toward the establishment of these forms. The Orchestra at San
Pdtronio in the Baroque Era is a document which discusses in
detail the physical structure for which much of this music was
written and the various aspects concerning the orchestra itself.
Intended to be the largest church in Christendom, San Petronio
has an interesting history of construction and some unique acous-
tical properties which, no doubt, had an effect on the composi-
tions written for performance there. In addition to a chapter on
the architecture of the church, Enrico includes a chapter on the
placement of the orchestra within the church. Photos of the
present structure and several drawings of the architectural plan
augment this discussion.
The orchestra is examined in several ways. The construction,
description, and range of the instruments (from the two organs
through the winds, brasses, strings, and other continua instru-
ments) are discussed, and the number of instruments used, place-
ment, and size of the orchestra ‘are carefully explained and well
supplemented by photos, drawings, and tables.
The appendix of this book is of special interest to trumpeters,
as it consists of a catalog of Torelli’s music involving trumpet or
trumpets. The’ catalog lists the San Petronio catalog number, the
Giegling Index ‘,Number (Franz Giegling published a thematic
index of Torelli’s .mannscript works in his book Gttiseppe Torelli,
Baerenreiter, 1949), the title,‘parts extant, and score information
(where one exists).
This book is one of the Smithsonian Studies in History and
Technology series published by the Smithsonian Institution, so
don’t be misled by the meager price tag of $1.55. The 33 photo-
graphs and drawings and the 13 tables are all very clear and
legible. It is amply footnoted and contains a valuable, though
selected, bibliography. There is no index, but considering the
brevity and careful organization of the book, an index is not essen-
tial. The Orchestra at San Petronio in the Baroque Era is not the
best starting place for studying the history and music of the Bolog-
nese School. Rather, as the title tells us, it is a book about the
orchestra at San Petronio; and it is an excellent one. It will be
most helpful to anyone interested in the performance practice of
the Italian Baroque and to students of the works, with or without
trumpet. of the Bolognese School. (K.D.)
Linda Anne Farr. A Trumpeters Guide to Orchestra/ Excerpts,
1977. (W. R. Welch Publishing House, 148 Eighth Avenue
North: Nashville, Tennessee 37203). 32 pages, paperbound.
($3.00 plus 251 postage)
A Trumpeters Guide to Orchestral Excerpts consists largely of
an annotated bibliography of orchestral excerpt books for trumpet
and an index of the excerpts contained in them. The other divi-
sions of the guide include: Categorization of Excerpt Books, Char-
acteristics of Excerpt Books, and How to use the Index and Biblio-
graphy. There is also a Foreword by Gilbert D. Johnson, former
Principal Trumpet with the Philadelphia Orchestra, and a Preface
by Ms. Farr.
The section on Categorization of Excerpt Books divides the
books into three categories: I) multiple genres (a cross-section of
composers and genres), 2) single genres (works of a single genre or
composer), and 3) complete parts (as found in the score). The
section on Characteristics refers to aspects such as incomplete
parts, multiple parts on a single stave, and first trumpet parts only.
The Bibliography is. found on the last five pages and consists of
31 separate entries, which includes 59 volumes. The books are
those which are currently available in the United States. Each
entry is evaluated and described in terms of length of each ex-
cerpt, use of rehearsal letters (corresponding to those in the score).
printing errors, categories and characteristics as mentioned above,
and adds any other information relevant to the particular publica-
tion.
The major portion of the book is the l9-page Index. Composers
are listed alphabetically. Compositions are listed under their com-
poser and are followed by a code which refers the reader to the
title and volume, in the bibliography. of all books containing a
part or excerpt of that particular composition.
A student. for example, wanting to look at the part for Pictures
at an Exhibition would look in the Index for M. Mussorgsky.
Under Mussorgsky he would find this composition followed by
three coded numbers, which refer him to the three volumes listed
in the Bibliography which include excerpts from Pictures at an
Exhibition.
Perhaps the most useful section of this guide is the Bibliogra-
phy. The short description and evaluation of each entry is a very
helpful guide to publications with which the reader is unfamiliar.
It can acquaint most of us with additional sources of orchestral
excerpt books, as well as aid in choosing the excerpt book, or
series of books, which best suits our own purposes.
Although limited in scope, this small volume does exactly what
it was intended to do, and could,be quite.valuable to those who
are involved in the teaching or :study of, the,, trumpet orchestral
literature. For those who are not involved .with the teaching or use
of orchestral excerpts, it will be of limi,ted value. However, at.the
modest cost of only three ,dollars. it will make an interesting and
40
sometimes helpful addition to a trumpet’ player’s library. (Joe F.
Phelps. Appalachian State University)
Werner Menke. History of the Trumpet of Bach and Handel. (Re-
print of the I960 edition by William Reeves Bookseller, Ltd.,
of London) Brass Press, 1972. I41 pages, hardbound. ($5.00)
What does one say of an old friend who may be a bit out of
date and is, perhaps, beginning to show his age? Werner Menke’s
History of the Trumpet of Bach and Handel presents just such a
problem. The book was originally published in London by William
Reeves Bookseller Limited in 1934, with Menke’s original German
text and an English translation by Gerald Abraham on facing pages.
Reeves reprinted the English. text in 1960, and it is this version
which the Brass Press has reprinted. The margins contain the odd-
numbered page numbers on which the original German of the
English translation appears in the 1934 edition. Although Menke
had been around for some time, the appearance-of the Brass Press
reprint marked the first time that it had been widely available
in this country.
While we today look on Menke’s book primarily as a musicolo-
gical study of the Baroque trumpet, it is important to realize that
Menke’s purposes in writing it were :to I) refute the arguments of
Dr. Hermann Eichborn. who, in Das Alte Clarinblasen auf Trom-
peten of 1894, inveighed against reviving the old techniques of
clarin-playing as having died a natural death, and 2) introduce to
the musical world the first modern trumpets designed along the
lines of the old Baroque D and F trumpets.
It is ironic that Eichbom has largely been forgotten, even by
trumpeters (although an English translation of Das Alte Clarinbla-
sen has recently been published by Tromba Publications), and that
Menke’s “new” (valved) Baroque trumpets never caught on.
Although they are still made by Gebr. Alexander, they have been
replaced in current performances by ‘the more authentic Meinl
and Lauber copies of natural trumpets. (It would be interesting,
for the purposes of comparison, to hear ‘some Baroque pieces
played on the Menke trumpets, sometime.) All the same, Menke
performed a valuable service by pointing out that the tone of.the
so-called “Bach trumpets” of his.day (trumpets in high D and F)
did not have the proper tone quality to effectively render Baroque
music in, its original setting, i.e., played by small ensembles rather
than by large orchestras. One cannot help wondering what Menke
would say about modern performances of Baroque music where,
on one hand trumpeters use instruments in high G, piccolo A and
B-flat, and even piccolo C, and where, on the other hand, other
trumpeters use either Meinl and Lauber copies or actual museum
natural trumpets to play the Baroque parts.
Where Menke does his greatest service to the modem trumpeter,
however, is in providing a capsule history’ of the trumpet with em-
phasis on its use during the Baroque period. Although other works
have been published in recent years that provide much more in-
depth information on this fascinating period in th.e trumpet’s
history, Menke remains a good introduction for student. trum-
peters and others who are not primarily interested in musicology.
The’Brass Press reprint is especially useful because it provides a
new index and’s new bibliography, which contains all the sources
mentioned by Menke in the book: The bibliography is necessary,
because Menke assumes that the reader has at his-fingertips all the
materials from which he (Menke) quotes, an attitude that can lead
to frustration on the part of the modern reader. For example,
Menke examines in. detail the questions posed in Prof. Richard
Hofman’s article in. the I9 I6 issue of the Bachjahrbuch, “Die F-
Trompete im 2. Brandenburgischen Konzert van Job. Seb. Bach,”
without,.in some cases, bothering to restatethe question for the
modern reader. To get the most out of this section, the reader
must have access to the original article and be able to read and
understand German
In an appendix, Menke gives line-drawings of the rim size and
cross-sections. of some Baroque and modem mouthpieces, ,“Ori-
ginal size,” as he says, but their value is negated by a lack of
accurate measurements. Likewise, the value of another appendix
containing examples of Baroque trumpet parts is negated .by the
widespread availabiltiy of facsimile editions and scholarly editions
of the music.
In spite of being out-of-date, and in spite of the amount of time
spent on a discussion of his “new” instruments. Menke is still a
valuable reference work for the trumpeter or musicologist, parti-
cularly one who is just beginning to delve into the history of the
instrument. Even his prejudices and biases can be overlooked at
this date, particularly when one remembers that in his day, not all
orchestral trumpeters were’. expected to be able to perform
Baroque music, and that it was only the fine soloists that at-
tempted to do so. I would definitely recommend it as a book that
should be on every trumpeter’s bookshelf. and on the bookshelf
of every musicologist interested in the Baroque period. as well. It
is especially valuable now that the Brass Press has included the
index ‘and bibliography. the latter of which will be valuable to
anyone wishing to track down Menke’s sources. In many ways,
Menke’s little book has stood the test of time well. (H. M. Lewis,
College of the Ozarks)
Music ‘Reviews
Norbert Carnovale, Editor
The following is a list of music which has been received for
review. All music received’will be listed in each issue of the News-
letter. Editions will be selected from .the Music Received list for
review. All ITG’~members are invited to participate as reviewers.
Please write to me stating your qualifications and area of interest
(baroque; jazz, contemporary. brass quintet. etc.). A specific edi-
tion from the list below may be requested. Reviewers should be
prepared to submit typescripts.
Music for review and correspondence should now be sent
directly to me at the following address: Dr. Norbert Carnovale.
ITG Music Review, Music Department. University of South’ern
Mississippi, P.O. Box 81, Hattiesburg. MS 39401.
Music Received
Trumpet Solos and Ensembles
Ashton, John H. Sonata. B-flat trumpet & piano. Seesaw. 1977.
Backes, Lotte. Sonata per trombu e orgurro (I 97 I ). B-flat trumpet.
DVfM, J975, S6.00.
Buxtehude, D.-Patrick McGuffey, arr. Komm,‘Heiliger Geist Herr
Gott. B-flat piccolo trumpet & organ. W. R. Welch Publishing
House, 1977. $2.50. (Available from The Brass Press)
Gossec, Francois Joseph-Steven Winick, trans. Tam’bozrrin., B-flat
trumpet & piano. Carl Fischer, 1976, S I .50.
Handel, G. F.-Patrick McGuffey, arr. Aria. Fluegelhorn, B-flat
trumpet, or piccolo trumpet & organ (with optional cello). W.R.
Welch Publishing House, 1977. $2.50. (Available from The
Brass Press)
Handel, G. F.-James Ode, trans. Three Arias for D Trzrmpet and
Buss Voice. “The Trumpet Shall-Sound,” “Thou Art the King
of Glory, ” “Gia.risonar-d:intorno.” D trumpet, bass, and piano.
Brass Press, 1977. $5.00.
41
Hiibschmann, Werner. Sonutiize., B-flat trumpet & piano. Fried-
rich Hofmeister (Alexander Broude).
Hummel, Johann Nepomuk-Fritz Stein, ed. Konzert (in E-flat).
B-flat trumpet & piano. Friedrich Hofmeister (Alexander
Broude), 1957.
Janetzky, Kurt, ed. A Due; Trzzmpet Music of the 17th and 18th
Centuries. Duets by Handel, Corelli, Biber, et al. DVfM (Alexan-
der Broude), 1975.
Kaufmann, Armin. Sonutine, Op. 53/6. C trumpet & piano. Dob-
linger (Vienna), I97 1, $8.00.
Kratochwil, Heinz. Konzert, Op. 88 (1974). C trumpet & piano.
Doblinger (Vienna), 1976.
Kurz, Siegfried! Konzert, Op. 23. B-flat trumpet & piano. Breit-
kopf & Hiirtel (Alexander Broude), 1957.
Link, Joachim-Dietrich. Burleske (1953); C trumpet & piano.
Friedrich Hofmeister (Alexander Broude), 1955, $3.50.
Little, Lowell. camp. and ed. Great Duets. Level II, Book A.-B:
flat trumpets; French horns;. B-flat clarinets; baritones T. C.
Pro Art. 1976. $2.50.
Nelhybel, Vaclav. Sonata da C/z&a .No. 2. Sequence for B-flat
trumpet (oboe) & organ or harpsichord. Bopnin, 1977.
Plog, Anthony. Two Scerres.C trumpet. soprano, & organ. Text by
Daveda Lament. Brass Press, 1977. $3.00.
Rubin, .Marcel. Konzert. C trumpet & piano. Doblinger (Vienna). I I
1975, Sl8.00.
Schwaen. Kurt. Sechs Bugatellqn., B-flat trumpet,& string orches-
tra. Piano reduction. DVfM (Alex.ander Broude). .I 972.
Siekmann, Frank H. Reflectiorzs. B-flat cornet (trumpet). & piano.
Pro Art, 1977, S I .50.
Sperger. Johann Matthias-Waldemar S,piess, ed. & arr. Konzert
D-Drrr. B-flat trumpet & piano. Friedrich Hofmeister (Alexan-
der Broude), 1974.
Stanley, John-Edward Tarr arr. Suite No. 2 of Trzrmpet Vokm:
turies. 2 D trumpets and organ. Brass Press, 1977.S2.50:
Stanley. JohIt-Edward Tarr arr. Suite No. 3 of Trztmpet Volzzn-
turies. 2 C. trumpets and organ. Brass Press, 1977. S2.5.0.
Wennig, Hermann. Rondo, Op. I I I. 4 trumpets. Verlag Neue,
Musik Berlin (Alexander Broude), 1973.
Winick. Steven. Eqzrinocfiul Points (I 970). Trumpet unaccompa-
nied. Autograph Editions. 1970. S I .OO.
Methods and Studies
Blatter. Alfred and Paul Zonn. Contemporary Trztmpet Stu$es.
Tromba Publications, 1976. (I 859 York Street, Denver, Colora-
do 80206) 48 pages, paperbound. (56.00) Note: This book in-
‘eludes ‘the Notational Gzcide for Contemporary- Trumpet in its
entirety (See Book Reviews section of this Journal).
Ellis, Don. Quurier Tones. Text with musical exaniples;exercises,
and etudes. Bibliography. Harold ‘Branch, 1975.
Friese, Ernst August. Neizzeitlich& Stztdien (Studies in Modern
Music) for trumpet. Vols I.-& If. Friedrich Hofmeister (Alexan-
der Broude).
Karpa, Gunther. Rlzytlzmisch-&listischq Stzzdieiz fiir Juzztrompete,
Heft ‘I. German text. DVfM (Alexander &dude), 1968:
Karpa, Gunther. RIzythmic and StjliStic Stzzdi& for Trzrmpet, Part
2. German and, English texts. For rhythm and articulation of
jazz, dance’ahd light music;.DVfM ‘(Alexander Broude), 1972,
$6.25.’ : :
Krumpfei, Ha-ns-Joachim.*Trompeten Schzrle fiir Fortgeschritterze
(Tutor for Advanced Players). Etudes for trumpet. DVfM
(Alexander Broude), 1969. :
Little, Lowell. Know Yozrr Trzrmpet (or Flugelhorn). Ear-training
,leading to ability to improvise. Jazz-oriented. Pro Art, 1976,
s3.00. .‘: :
 Mincarelli, Daniel. 33 Etudes and Studies. Trumpet (cornet)., Pro
Art, 1977, 52.25.
Rizzetto. Jay. F(fteen Couteinporary Etudes for- Trumpet.
Contemporary rhythms and intervals. Pasquina. 1974, S3.50.
Wurm: Wilhelm. ilusgewiihlte Etiiden lSelected Studies) for trum-
pet. Friedrich Hofmeister (Alexander Broude).
Mixed Ensembles
Brown, Richard E: Delineations. Brass quintet. Brass Press, 1976:
$6.00.
Cesare, G. M.-Glenn Smith, ed. La Ravaru. Published for 5 trom-
bones, or brass quintet (2 Tr, Hn. Tb, Tu). Brass Press, 1977.
$5.00.
Grieg. Edvard-Gary Olson. arr. Homage Ma?~11. Incidental music
for Sigurd Jorsalfar. Brass quintet. Canzona. 1977.
Keyes, Nelson. Trio forBrass. W. R. Welch Publishing House, 1977.
$4.50. (Available from The Brass Press)
Olson, Gary, cd. Two English Madrigals (“Leave alas this tor-
menting.” Thomas Morley; “Hark all ye lovely saints.“ Thomas
Weelkes). Brass quintet. Canzona. 1977.
Schmelzer, J. H.-Robert S. Ten‘nyson, ed. International Trom-
bone Association Series: No. 5. Sonata & 7. 2 cornettos (trum-
petsj, 2 C trumpets. & 3 trombones with optional organ. Brass
Press. 1976. $7.00.
Weber-Edward Tarr and Harry H. Hall: eds. Sonatas No. I, 2, 3
& 4. 2 trumpets and 2 trombones. Edited from mariuscripts in
the Moravian Music Foundation .4rchive, Winston-Salem, N.C.
Brass Press, 1977. S6.00.
Music Reviews
J. S. Bach-Robert J. Powell. arr. Praise Our God. Festival Proces-
sional from Cantata No. 1 I, “ Lobet Gott in seinen Reichen.”
B-flat trumpet and organ. Concordia, 1973. S2.00. Range:
written d’ to u”.
In this arrangement of J.S. Bach’s Praise Our God for organ and
B-flat trumpet. Robert J. Powell. has attempted to add to the
repertoire of organ and trumpet literature useful for festive Sun-
days. Indeed. this extract from the .4scemion Oratorio fCalltata
No. Ill shows promise of providing an alternative to the familiar
Purcell-Clarke voluntaries: unfortunately this arrangement only
partially fulfills that promise. for reasons that will be dealt with
later.
Praise Our God, which is adapted from the opening chords of
the oratorio, follows the Italian Da Capo aria form and was origi-
nally scored for large orchestra that included three trumpets.
Except for the Da Capo ;ection, which is a simplified version of
the first trumpet part. the soloist plays the soprano voice line.
leaving the other.choir and orchestra parts for the organist to wade
through., The trumpet part should pose little difficulty for the
average high school or advanced junior high school student.
The organ reduction is-extremely difficult and is not i?iomatic
for that instrument. Though it is called an arrangement. apparent-
ly the only.editing is the elimination of doublings. Because of this
the organist must cope with a part that is oftentimes awkward and
unnecessarily difficult. requiring him or her to make editorial cuts
that should have been done by the arranger or pubtishlng house.
One wonders if this work would have been better served by an
arrangement that treated it as a choral anthem rather than as a
prelude or processional. I culation. Studio, P/R Inc., 1976. $2.95.
This work would of course be appropriate, for Ascension Day;
other church days. that come immediately to rnind are Easter and
Reformation. It .could also be used in recital as the virtuoso organ
reduction is very impressive once the technical difficulties are mas-
42
teied.
Despite the flaws in this edition, Praise Ozrr God is exciting
music to perform and presents some of Bach’s finest polyphony, It
atso provides the young trumpeter a taste of Bach’s trumpet writ-
ing and perhaps will give him or her a greater appreciation for this
glorious music. (David L. Petersen, Rockvilte, MD)
David Hickman. The Piccolo Trumpet: Duets. Etudes, Orchestral
Excerpts. Tromba, 1973. $5.00.
The piccolo trumpet has become increasingly popular in recent
years. due both to the demand for Baroque music and the avail-
ability of high-quality instruments on which such music may be
played with some hope of success. David Hickman’s method book,
Tl!e Piccolo Trrmpet, goes down in history as the first published
method for piccolo trumpet and remains among the best. It at-
tempts to give the trumpeter who wishes to take up the piccolo
trumpet an organized munncr of approaching the instrument.
IHickman has divided the book into five parts: explanatory text,
preparatory exercises, etudes. duets (for two piccolo trumpets),
and orchestral excerpts from the works of J.S. Bach. The prepara-
tory exercises are excellent, and provide a good warm-up for the
piccolo trumpet, although, as the author says, it is better to first
warm up on the B-flat or C mezzo-soprano trumpet. The etudes,
too, are excellent. being arrangements from the Baroque masters,
which not only help the student learn how to handle the piccolo.
but also teach him or her some of the basics of Baroque style. The
duets, also from the Baroque masters, are excellent as well. al-
though they may be of hmited usefulness in smaller schools where
only one piccolo trtuiipet ‘may be av%lable. One interesting fea-
ture is two solo etudes in which the player.is asked to change from
the B-flat mezzo-soprano trumpet to the piccolo trumpet and back
again.
The text is very good. and quite informative: but it is to be
hoped that when this book comes out in a second edition this
section will be expanded. A more complete discussion of the uses
of and problems of the t’ourth valve should be added, along with a
fingering chart. and, possibly. a more complete discussion of
mouthpieces and teadpipcs. items that are of primary importance
in good piccolo performance. and items of which players and
teachers in smaller schoo1s may not be aware.
If a second edition is contemplated. a section on the various
transpositions for the piccolo. along with exercises for these trans-
positions. would be helpful. For example. the trumpet part in D.
major. with two sharps. played on the piccolo in A (transposition
down a 6th ). or on the piccolo in B-flat (transposition down a 7th).
both present transpositions that are somewhat different from what
;I trumpet player expcrienccs in the normal course of playing. and
it is the rcvicwer’s opinion that the book would profit from a sec-
tion-perhaps several etudes-on transposition. This could be in-
corporated into the section of‘ orchestral excerpts: which might
also be expanded.
David Hickman’s Tlrc /‘iccolo Trumpet is such a valuable work
that it deserves to be a part of every trumpeter’s basic library. Its
only fault. in the reviewer’s opinion. is that it is too short (print-
ing considerations may have played a part in this). It is hoped
that Hickman will make available, an expanded edition or even a
second volume. (H. M. Lewis: The Collcgc of the Ozarks, Clarks-
ville, .4R),
John McNeil. Jarz Trl~r?zpct Techr~iyues. Valve technique and arti-
Marc .than any. other breed of musician, the’improviser must
possess >I sure. quick comman&of his technical toots. He must be
ablc;spontaneously. to translate his musical ideas into motor im-
pulses without the visual aid of the written note. He must not be
 hampered by ,his technique, indeed he must not even consider it’
at the time of performance. This is not to imply that all impro-
visers are or should be highly developed technicians, for near!y.all.
of.any individual’s musical ideas will occur within the range of his
technique. What it does mean is that no matter how limited,that
technique, the player must have it under his complete control.
How often has .a player fluffed a passage, not because it was -be-
yond his skills, but due to some momentary indecision regarding
tonguing, slurring and/or breathing, or how often 1las.a phrase
sounded blurred because one’s fingers did not move precisely? In
this small, loosely organized book;- John McNeil, a New York-
based jazz trumpeter, gives serious consideration to these difficul-
ties, and, comes up with some interesting and thought provoking
recommendations. ,It is .not a book ,for beginners ‘nor is it in-
tended. as a substitute for the standard improvisation instruction
and theory books..(Russell; Aebersold, Baker, Coker,. Sandole)
but is meant as a companion to them, specifically,,for the trum-
pet player.. ; .,
There is very littleactual music here; however, the four:pages of,
short .technical drills (real .finger-twisters) and the two pages .of
. alternate finger exercises should take up a few hours of anyone’s
time. The rest’ is concerned with .tingering, practice’techniques
(silent practice, mental practice, etc.), tensions in valve springs,
articulation, double tonguing, du-dul or tud-ul tonguing, and the
problems created by the use of very wide intervals in improvised
lines: He. writes concisely, rationally; often humorously;on how
the fundamental technical skills can best be applied to problems
confronting the improvising jazz trumpeter: and he includessug-
gestions’.on how to use most advantageously the standard texts
(Clarke, Schlossberg, etc:). In almost every case he:detines. the
problem clearly and ,offers succinct,: workable solutions;.solutions
that should provide stimulation for all but the most advanced jazz,,
player. The only reservation I have concerns the section on du-dul
tonguing. 1 find this technique inadequately analyzed in that it is
unclear how the second syllable is to be formed. It seems to me it
must be pronounced differently from the first syllable, either with.-
the. middle of the tongue ‘or with the front of the tongue in the
middle of -the roof ,of the mouth. In any case, it is incorrect .to
indicate that both syllables begin the same,way, .as the use of
du-dul implies. ‘,
There is, in addition, a list of recommended jazz .theory books,
a list of his favorite technical books, a rather complex and mildly :.
hilarious.chart- of the jazz trumpet family tree, and a jazz trumpet .
discography. The latter is, in several cases, due to the.vagaries.of
the jazz record business, out of date; (for instance, BYG records.
are, I believe, no.longer around). Even more serious, and puzzling,,
given Mr. McNeil’s obvious knowledge of jazz history, is the omis-
sion of any Louis Armstrong or Roy Eldridge recordings.
On the whole, however, I thought the book instructional, read-
able and.well worth the $2.95. (William Moriarity, Flushing, NY)
Karl Pilss. Sonafe ftii Trompete zlnd~‘Kla&r:Universal Edition
(Boonin), 1962, $8.50. I.
Somehow, the Karl Pilss Sonate has- escaped my attention al-,
though it has been-around since ,I935 and has been published since
1962. I have never performed the’work nor have ‘I taught’-it. ”
After having played through it 1 plan to correct this oversight since
I have found it to .be a most pleasant and. enjoyable work. The-,’
style is .late hineteenth’century German-Russian romantic, full of
lush but tasteful harmonies and rich expressive melodies;‘Thi
harmonic structure is in a-traditional tertian ‘style with no at-
tempt at tongue-in-cheek,surprises or.gimickj of any kind: 4 find
the piano part to be especially well written and rewarding for the
performer. It is very flowing and richly melodic, albeit not parti-
cularly easy.
43
The first and second movements are the best, especially .the’
second, which provides both performers with a vehicle for genuine
musical expressiveness. The third movement, on the other hand,
could, be considered somewhat anti-climactic. Pilss takes a pretty
good Scheherazadian theme and hammers it home in the trumpet
part no less.than twelve, times. When the trumpeter gets a measure
or two of rest, Pilss puts fragments of the same theme into the
piano, in: various keys lest one forget. for. the moment what this
theme is alLabout. I guess he figured that.if you have a good thing
going, stick with it. ..
All in all, I fin,d the work to be very worthy as long as. you
understand the style and accept it for what jt.is. There are a lot..
of listeners who would, enjoy this .music. more. than some of the
more contemporary’things that are, being offered now. I, think
it is.also a good teaching piece since good literature for the trum-
pet ,i,nthis particularstyle. is not plentiful.
The trumpet part is not particularly difficult; there are no range
or endurance problems to speak of. The piano part, on the other
hand, may be something .else again. -The length of the work is
indicated to be 16:30. B-flat trumpet range: c’ to c”‘. (Dennis
Schneider,.Uniyersity of Nebraska-Lincoln)
Prentzel-Edward H,. Tarr, ed. Sonata. C trumpet, bassoon, and ‘,
: basso continua (organ). Brass Press, 1975, $3.50.’
As part of the Edward H: Tarr Artist Series, the Prentzel Sonata ”
brings us yet another original work for the popular combination
of trumpet.arid’oigan. Included is a detailed and scholarly.discus-
sion writteh by :Tarr concerning this work and .related literature.
As stated -in: the preface’to the edition, little is known about
Prentzel except that this work originated in the 1670’s or 1680’s.
In three movements;Andante., Andante arioso; and Allegro, the
solo trumpet line utilizes the sixth to sixteenth harmonics of the
baroque .trumpet.‘ The bassoon is treated as an equal partner
throughout with the second movement divided’into two solo
sections featuring ,both, instruments., The basso continua has been
realized by George Kent and is typical of similar works like the
Fantini, Pezel, and Viviani sonatas, rather simple, with this edi-
tion including figured’bass. No ornamentation suggestions are ,in-
eluded in any parts, in contrast to some of Tarr’s other editions.
The- work is recorded by ‘Edward Tarr (trumpet), Helmut Backer
(bassoon), and- George Kent (organ) on Baroque Masterpieces for
Trumpet and Organ, Volume I’(Nonesuch H-71279). With the.
Brass Press Artist Series (original works for trumpet and organ)
and Recital Series (transcriptions of organ literature for.trumpet
stops), the Marie Claire Alain transcriptions of baroque-works, and
contemporary literature such as that by ,Persichetti and Tomasi,
ambitious trumpet and’organ.recitalists’have a varied and exciting
repertoire’from which to choose. (Charles Decker, Bemidji State
College, Minnesota)
! .. .Y_
Henry Purcell-Wesley Ramsay, ed. Trumpet. Aria from “The In-
dian Queen.” ,B-flat trumpet and organ (or piano). Brass
Press, ,I 975, $ I .50. :
Trumpet ,Aria is a free adaptation of a soprano aria from Pur-
cell’sopera. ‘!The Indian Queen,” and is approximately three
minutes in, duration. This arrangement .for B-flat trumpet and
piano or-organ is-best suited to the-serious.high school or develop-
ing. college student. Range written for the B-flat trumpet covers
the span fromg: t0.a” (with optional c”‘).
The accompaniment is not difficult, setting the trumpet line off
nicely, and the-straightforward phrasing is clearly marked in both
the solo and accompaniment in the form of breath marks. The
thoughtful placement-of rests should forestall endurance problems
in -even the most. nervous or least capable of student performers.
The overall;form, in fact, is close to that of Purcell’s (Clarke’s)
.’
 Trumpet Voluntary.
Brief program notes are provided, and the only thing one might
add to the Trumpet Aria is a parenthetical metronome marking for
unaccompanied student practice. (Ben Aldridge, SUNY. Bingham-
ton)
Harold Shapero. Sonata. C trumpet & piano. Southern (NY),
1956, $4.00.
The trumpet repertoire cannot boast of an abundance of good
sonatas, especially by American composers. The Shaper0 Sonata
has been arouhd for thirty-seven years but has not been pro-
grammed very often. Whether or not it is in the same league as the
Kennan, Stevens, Peeters et al? is debatable. Frankly, I don’t
think it is. but I certainly do think it is-deserving ot another
serious look. I personally feel that the piece is well written and
would make very good program material. Shaper0 was twenty
years old wheh he wrote it and at that age illustrated a mature
concept of style and chromatic harmony.
The sonata is dedicated to Aaron Copland and I feel that the
piece shows some Copland influence from time to time. The form
is a little unusual in that there are only two movements instead of
the usual three. The first is very slow and in a jazz idiom which
was so popular in the thirties. It’s a long, flowing, linear trumpet
solo with some lowered thirds for tension: contrasted by mono-
phonic’chromatic harmonies in the piano. The second movement
is a whole new thing. It is set in a traditional sonata form and
moves along in a brisk, rhythmically intense tempo, at quarter
note equals 120. The trumpet and piano are in opposing and in-
dependent rhythms much of the time, but it all works very well
together.
The piece is written for C trumpet and Shaper0 is even careful
to mention this instrument on the title page. However. I am not
sure that he really had this instrument in mind since there are
several. low f naturals in the part. I’m not opposed to a few low f-
naturals, but these do not come at the most opportune time to
be brought off with clarity on the C trumpet. Furthermore, the
piece lies just as well for the B-flat trumpet. No matter which
instrument you may use there are going to be some spots which
will take some careful working out.
This is not the kind of a piece that can be performed with few
rehearsals. It is difficult for both players. The piano part. in
particular. is difficult because of the briskly moving chromaticism
and the lack of obvious patterns which one would normally look
for to help hold things together. There are also metric changes
which can cause some ensemble problems initially; but, when
these complexities are resolved, one finds a delightful musical
experience for both the players and the listener. C trumpet range:
f to b”. (Dennis Schneider, University of Nebraska-Lincoln)
Dominic Sper?. Learnitzg Unlimited Jazz Improvisation Series
Blues and the Basics. B-flat trumpet/clarinet. Cassette in-
cluded. Hal Leonard, 1975, $9.95. book only $3.95.
There is no doubt that, as the music curriculum in schools is
expanded, some educators are being asked to function in areas
where they are somewhat uncomfortable. Many administrators,
stressing performance over education, demand participation in
concerts and contests from musical groups that such educators.
both by training and inclination. are not fully equipped to direct,
Sensing their own inadequacies. these people turn for help to
materials that- seem to offer, in a simplified. easy to grasp form,
information-that will meet their immediate needs. Unfortunately,
certain areas of human endeavor defy simplification. .The jazz
improvisation required of certain stage or lab band members offers
a case in point. One might as,well try to synopsize the works of
Shakespeare in twenty-five words or less as to attempt to capture
44
the essence of jazz in the few pages of rules and riffs that this
package offers. In fact, Spera’s book might offer a warning on the
pitfalls of oversimplification.
Specifically, the booklet begins with a too brief definition of
jazz, which, however, cannot be strongly faulted since the term
has never been defined very successfully. Next, though, comes a
paragraph on tempo in which is is implied that jazz is invariably
played in 4/4 at a strict tempo. thereby ignoring not only such
people as Don Ellis, Max Roach, and many of the most influential
players of recent years. but also the accompanying cassette which
opens with a blues in 3/4. Following this is a rule covering jazz
phrasing that is not a reflection of the style in most common use
for the past twenty-five or so years. A more equal division of the
beat than described here is now the general rule, as Spera would
realize, were he to play, for example, any transcribed Clifford
Brown solo. Then comes a paragraph on improvisation containing
one slightly misleading historical reference concerning improvisa-
tion during the baroque, and one wonderful sentence, “[Jazz] is
an oral art from the combo in each performance and an aural art
for the audience and for other musicians, who use it as a basis for
their own performance,” which has everything but meaning. This
is only the first page, but such imprecise use of words and shoddy
scholarship are characteristic of the whole book. Thus, we are told
later that “The third note of the major scale becomes the third of
a major chord.” rather than “The third note of any major scale
becomes the third of its major chord,” a minor point. maybe. but
illustrative of the difference between a vague statement and a
somewhat clearer one. And in the section on building scales: you
will find an F pentatonic scale with no F in it, a G pentatonic with
no G, and that rare creature. the locrian scale. The section on
“blues” notes treats them only as lower neighbors which resolve
upward. But “blues” notes. just as often are resolved downward;
the lowered third most often to. the tonic, the lowered seventh to
the fifth, the lowered or flatted fifth to the perfect fourth or to
the root of the chord. a perfect fourth up from the root of the
chord containing the flatted fifth. (They also do all sorts of other
strange things. Listen to Miles Davis or Dizzy Gillespie.) It is not
so much that all the rules are wrong, but that many are only partly
right. The result is that the student’s perception of the music will
be distorted and he will feel severely limited when trying to per-
form. Anyone approaching jazz through this book must conclude
that it is a banal, uninteresting means of expression.
The central problem. however. comes at exercise I5 in the book
where the student is given a set of chord changes and asked to im-
provise or “spontaneously create a melody.” What is such a melo-
dy? Do the meager riffs in the book and on the cassette constitute
the melodic possibilities of jazz’? The term “melody,” as used here,
can. in m y opinion: be defined only by direct contact with the
music of Armstrong, Eldridge. Gillespie, Parker, Coltrane, Dolphy,
etc. For only by going to the source can we begin to know the
range of possibilities. This essential element. I am sorry to say, is
neglected throughout. NO jazz composition or performance is even
mentioned, a fault which can neither be overemphasized nor over-
come. It is not possible to learn to speak a language effectively
unless we have first heard it used.
At best this is an educational gimmick, useful only to the har-
ried band director who wishes to coax his stage band soloists
through an unembarrassing. if uninteresting, performance. In
terms of real education, I fail to see its value.
In addition to the materialdescribed there are several small
band arrangements. (William Moriarity, Flushing, NY)
Wilhelm Ehmann, camp. and ed. Alte Spielmusik ftir Bhser II.
Music for three to six parts by Praetorius. S. Scheidt. T. Stol-
 zer; D. :Speer; .J.E. ,A]tenburg, et al. (Mixed treble-and bass
. . clefs). German text. Barenreiter, 1972, 16.00 D.M.
.Wilhelm Ehmann, camp. and ed. Alte Bliiser-Partiten. Music for
from four to six parts. by M. Praetorius, Melchoir Franck,
M. von Hessen, and S. Scheidt. (Mixed treble and bass clefs).
Barenreiter, ,1975,:18 D.M.
These two collections of .Renaissance-Baroque music for brass
are so similar that they.can be best reviewed together..
Over the years, m,any of those familiar with the work of music-
ologist-choral: director-brass. player, Wilhelm Ehmann, have come
to regard his work as a. major, accomplishment in brass and choral
:music: These two collections are not exceptions. Both collections
present a wealth of-simple and moderately difficult brass works by
composers such as Altenburg, Scheidt, Speer, and Praetorius,
among.others. .. : Baroque. Two optional B-flat or C trumpets and timpani.
It is unfortunate that Barenreiter.does not take the time to
translate into English Ehmann’s rather extensive text-dealing with
such’ subjects as articulation,, dynamics, instrumentation,. and
general bass. All of this ‘information would. be, most helpful to
anyone wishing to perform these pieces, but I perceive-that. the
German will be a stumbling block for many.
In Alte Spielm,usik.II, there are twenty-two partitas, intradas,
and. pavanes..for four or five voices; in Alte. Blliser-Partiten, eight
partitas are listed. Both of these collections contain a very basic
library of early.music.for.anyone working with, student brass en-
sembles. : Li : . . ;.. ; ” ‘.
Because all of the music appears in score form, it is necessary
to purchase several scores; however, this problem is offset by the
sheer volume of music. found in the collection. For performance
the music is: best, suited,.for trumpets (in C) and trombones; tubas
and euphoniums must be used with discretion,: because they tend
to add so much weightto-the lower parts, thereby obscuring the
polyphonic lines. In larger, brass choirs it is certainly .possible to
use a full compJement of brasses. .:
,Unfortunately, the.,music, appears in nqrmally bound volumes.
Due;to the score format, it would have been wise to publish the
music in spiral-bound,.volumeg so that it would be easier to read on
a, .stand. -Ne.vertheless, the,se collections are, well ,edited, and are
highly recommended to all working with brass ensembles. (Paul
T. De Boer, Camrose, Alberta, Canada).., . . .. :
S. Drumpond Wojff, arr. Baroque Composers of. the ‘fChapels
Royal.” For organ. Two optional B-flat or C trumpets and
timpani. Works by.J,.Clarke,,Green,,Purcell, Boyce, Blow and
Handel. Concordia, 1969, $3.50.
S. Drummond Wolff has combined in the,form of.a suite, seven
short movemen,ts by six English Baroque composers w,ho, at one
time or another, held th,e.posttion. ofcomposer,and organist at the
“Chapeh,RoyallZ in London,,,witb,. the exception of..Handel who
was Kappellmeister at the English Court.. .,
The pieces. are,.arrangedIfor. organ by Wolff and all of them are
excellent examples of the Baroque style. Four of the pieces in-
clude optional trumpet partsand two of these have optional tim-
,pani parts. The .pieces which do.include the optional parts are
designed for .ceremonia] occasions. The trumpeter who does very
much church work will find this offering very useful. This is ideal
wedding music and would ,fit almost any situation where, special
occasional music is in.order.
This edition would also be very useful as teaching material..!t
would .be ideal as,an ‘introduction ,to the Baroque style :or as a
vehicle for the. student who is ready for his maiden voyage on the
D trumpet. .The :tessitura is not excessively high. and the player is
provided..with ample rest. : ,- .,
,Theseven movements include: Trumpet Tune.abd March:..by
Jeremiah. Clarke (one trumpet andtimpani); InJerlude, byeMaurice
Green (organ alone); Trumpet Tune ‘%ebell”, by Henry Purcell
(one trumpet); Interlude, by William Boyce (organ alone); Trum-
pet Tune Duet, by Jeremiah Clarke (two trumpets); Interlude,
by John Blow (organ alone); and Processional, by G.F. Handel
(two trumpets and timpani).
Both C -and B-flat parts are included,, but the performer will
probably choose the D trumpet on at least two of the movements.
Clear instructions are provided for the.organist as to how to edit
his part if the optional instruments are used. The edition is clearly
and richly printed and in general is done very attractively. This is
a valuable addition to your Baroque collection and is an excellent
buy at the current price. C trumpet range: d’ to b”. (Dennis
Schneider, University of Nebraska-Lincoln)
S. Drummond Wolff, ed. and arr. Suite for Organ from the French
Works by Delalande;Leclair, Aubert’ Dandrieu, Mouret, et
al. Concordia, 1973, $2.75.:
During the’‘past few years, music. for trumpet and organ has
become very popular; it is therefore encouraging to see good col-
lections of music appearing for this combination of instruments.
Although they are non-liturgical, these numbers from the French
Baroque are most fitting for festive days of the church year, as
well as for other ceremonial celebrations.
Since the brass and percussion parts are optional, the pieces can
be performed with one or two trumpets, with or without timpani.
The suite is cqmposed of seven movements, compiled from several
sources. The brass and percussion play only the odd numbered
movements, which are all festive in character. In contrast, the
other ,movements are quiet in nature, and although musically un-
even in quality, they are effective.
Although the numbers are arranged as a suite, the performer .
should in no way feel obligated to use this format. Individual
movements, although short, make interesting instrumental num-
bers, and it is also possible to couple a few of the movements to-
gether to form a shorter suite.
The accompaniment part is relatively simple, ‘and it should be
easy for the soloist and accompanist to put the suite together
with minimal rehearsal time. The score is clean and easy to read,
and contains parts for both B-flat and C trumpets. Concordia
Publishing House should be commended for this edition, and at
$2.75 it is certainly a.must in the music library of any trumpet
player who perfot&with organ. (Paul T. De.Boer, Camrose, Al-
berta, Canada)
,’
Charles Wuorinen. Nature’s Concord. C trumpet and piano. Peters,
1972, $4.50.
-As Thomas Stevens has pointed out, many of the major con-
te’mporary composers have written so beautifully for the trumpet
in the orchestra, but few have written for the trumpet as a solo
instrument. With this in mind, trumpet players must indeed be
thankful to have composers: the caliber of Charles Wuorinen write
for our instrument.
Nature’s Concord..was written in 1969, and dedicated to Ronald
Anderson. It must be noted immkdiateiy that the composition will
not be playable by the average trumpet player. The range is very
wide, (c below c’, to e-flat”’ above c”‘), and extensive use is made
of the pedal register. At one point in bar seventy-four, the trumpet
plays a pedal e-flat for ten beats. .In performing Nature’s Concord
one runs into several problems. An. understandable one is the-fact
that two score&St be.purchased, since a trumpet part is not
supphed.
: A more serious problem is. that the score has been ar-
ranged so that page turns are for the most part comfortable for the
pianist, ‘but almost impossible for the trumpet player. Another
problem is that the writing for trumpet seems to be more in the
string idiom than the brass. Breathing is made difficult. and from Jack Gale: Dawn; (arr.) Lucy in the Sky with Diamonds; (arr.)
the beginning to the end the trumpet player has very few places Jazzman; Dick Hyman: Reggae for Brass: Chico O’Farrill:
to rest properly. At the tempo of quarter note equal sixty, over Celebration; (arr.) You’re Something New; (arr.) Sonnet:
the eleven minute duration of the solo, the performer can easily Hale Rood: (arr.) Bach and Al: A Salty Dog: All in Love Is
become fatigued. Written in a very contemporary style, Xcltflve’s Fair.
Coizcord is quite free rhythmically, and mostly pimo dynamically. This is an album of popular music arranged by four of New
Wuorinen writes many large intervals for both trumpet and piano. York’s top writers. Rood. Gale. and O’Farrill have adapted mater-
and makes use of all registers of the instruments. ial by J.S. Bach (the final movement from the Second Brarzden-
n’utzrve > Cor~coi-d is a very advanced composition. and will be a bllig Corzcevro and the organ prelude, Waclzet Allf) and made ar-
challenge for any graduate student. or professional trumpet player. rangements of several contemporary pop tunes. In addition, Gale,
(Paul T. De Boer. Camrose, Alberta, Canada) O’Farritl. and Hyman have contributed original compositions, with
Hyman’s joyous Reggae for Brass constituting the musical high
point of the album. It is not a jazz album. There is only the barest
minimum of improvisation, approximately twenty-four measures
for trombone in the Carole King work, Juzzrnan, and a few very
Record Reviews brief spots scattered throughout for various members of the
rhythm section.
David R. Hickman Editor The music: though, appealing as it is. serves primarily to Show-
case the skills of these fine players. For here we have the top
studio brassmen: not buried behind an announcer or singer, but
The following is a list of recordings which have been received
out front where we can hear their robust timbre. precise execu-
for review. All recordings received will be listed in each issue of
tion, and clean ensemble work. Topping it off is the admirable
the Xe\vslet~cr. Records will be selected from the Records Re-
piccolo trumpet work of Al Stewart who, with enviable command
ceived list fdr feature review. All ITG members are invited to parti-
of this instrument. is featured on every selection. He shows a
cipate as reviewers. Please write to me stating your qualifications
nice lyricism (.lozzr?zar~: Sorlrlet). technical facility (Bach and Al,
and area of interest (baroque. jazz. contemporary. brass quintet.
Lllc~, irl the Sky), and an impressive high register (Reggae contains
etc.). A specific recording from the list below may be requested.
several quite strong concert G’s above high C).
Reviewers should be prepared to submit typescripts.
The recording presence is quite good overall. although at cer-
Records for review and correspondence should now be sent
tain times when the piccolo trumpet is playing lead the section
directly to IIIC at the following address: David Hickman, ITG
parts ars not heard strongly enough. This, I am certain, was not
Record Review, School of Music, University of Illinois. Urbana.
the fault of the performers.
IL 61801.
I have one minor quibble with the album notes. They state “All
of the instruments used were (Vincent) Bach instruments.” I’m
Records Received
not certain what this means. Surely the horns and tuba were not
The Forefront-In The Forefront Bach instruments and probably the tlugelhorns weren’t either. So,
Bobby Lewis. Art Hoyle. George Bean: P; Russ lvcrson- maybe just the trumpets and trombone were-and maybe not the
trumpets (with Jerry Coleman. drums: Rufus Reid. babs) trombone. In any case. if you wish to hear some virtuoso brass
AFI Records: U-64389 (1945 Wilmcttc Avc: Wilmette. IL playing, and pleasant if not profound music, this record is for
6009 I I you. (Bill Moriarity)
Lewis: The Trumpet Section-Suite. Ojsrla: No Name Jive: Sra- Mnrice Stith-Contemporary Literature for Trumpet
sons: Casa de Sucrte: Daley: Fanfare. Ross: Dccter Dance. (Brian Israel. piano; Brian Israel. Harris Lindenfeld. Christo-
Anthony Plog-The Trumpet in Contemporary Chamber Settings pher Rouse. percussion).
(Los Angeles Philharmonic Trumpet Section-Robert Hendcr- Golden Cl-est: RE-7068 (220 Broadway, Huntington Station,
son. Conductor: Ladd Thomas, organ. Russell Kitlcl. trumpet; NY. 11746)
Ken Wolf<on. bassoon; Sharon Davis. plano~ Thomas Darter: Sonatina (Three Aphorisms): Dexter Merrill:
Crystal Records: S3GZ (P.O. Box 65661. Los ~\ngeles. CA) Studies for Trumpet and Computer: Thomas Sokol: Sona-
Reynolds: Music for Five Trumpets: I-IOV~I:IIIL‘SS~Sonata for tina: Christopher Rouse: Subjectives VIII: Harris Lindenfeld:
Trumpet 6: Organ (1st mov’r.): C:lmpo: Duet for Equal Combinations I -The Last Cold of the Perished Stars; Brian
Trumpets: Plog: Fanfare for Two Trumpets: Southcrs, Three Israel: Dance Variations.
Spheres. This album consists of six pieces of 20th century trumpet litera-
Thomas Steven-Music of Henri Lnznrof
tul-ti. three of which include the use of tape. and three of which
(Utah Symphony-Henri Lazarof, conductor. James Galway. wcie written by composers born since 1945. The wide selection
flute-with the New Philhal-mania Orchestra of London) includes works for solo trumpet, trumpet and piano, trumpet and
Composers Recordings. Inc. CRI SD 373 percussion. trumpet and tape. and trumpet with both tape and
Lazarof: Spectrum for Solo Trumpet. Orchestra and Tape: Con- percussion.
certo for Ftutc and Orchestra. When listening to this disc the reviewer was impressed by two
factors above others: the consistently fine playing of Marice Stith
Record Reviews
and the five pieces for trumpet that incorporate the use of tape,
AI Stewart-Al Stewart’s Museum of Modern Brass 2 particularly those pieces by Dexter Merrill and Brian Israel. The
(Al Stewart, piccolo trumpet: Johnny Frosk. Marky >l?larkol Merrill “Studies” and the “Dance Variations” by Brian Israel are
witz, Phil Ferrante. Ray Crisara. trumpet and tlugelhorn: both very origlnal. refreshing pieces. The Morrill work produces
Larry Wechsler, Don Car-rude, horns; Jack Gale. trombone; tape sounds that are very complimentary to the solo instrument.
Tony Price. tuba: plus rhythm section.) particularly in the “Blues” movement. The “Dance Variations”
RCA: APL l-095 I is very entertaining and as humorous as the liner notes that ac-

46
company it. Throughout all the works on this album Mr. Stith
displays a fine command of the instrument and a warm lyric sound
that is a pleasure to hear. That Stith is able to maintain his instru-
mental abilities at such a high level while executing his duties as
Director of Bands at Cornell University is not only a tribute to
himself, but an example that could be well observed by educators
everywhere. (Howard L. Engstrom, Calgary Philharmonic)
Edward H. Tarr-Bardque Masterpieces for Trumpet and Organ,
vol.: II
(Edward, H. Tarr and Bengt Eklund, trumpets; George Kent,
organ.)
Nonesuch: H-7 I 290
Viviani: Sonata Nos. 1 & 2; Fantini: Sonata Nos. 3 & 8; Fresco-
baldi: Toccata per 1’Elevazione; Pezel: Sonatina Nos. I, 2, 3:
& 8 for Two Trumpets and Continuo; Krebs: Gott der Vater
wohn’ uns bei; In allen meinen Taten; Telemann: Air de
trompette.
Trumpet players throughout the world owe a tremendous debt
of gratitude to Edward H. Tarr, both for his performances and for
his musicological research. The present album is his second volume
of music for trumpet and organ. Although the music is not as stun-
ning and virtuosic as is much of the Baroque trumpet literature,
some authentic literature for the popular trumpet/organ combina-
tion is presented. The album is organized so that the first side is
comprised entirely of Italian compositions. and the second side is
devoted to German literature.
Although there have been several recordings of the Viviani
sonatas;Tarr’s performance must certainly be considered one of
the best. The tempi used by Maurice AndrC on his Musical Heri-
tage Society recording are more satisfying than those of Tarr: but
Tarr’s exquisite use of ornamentation certainly brings the music
to life. Too often enibellishments call attention to themselves,
thereby detracting from the melodic line; Tarr’s embellishments
are always worked out so cleverly that the musical line is
enhinced.
The Fantini sonatas numbers 3 and 8 are the earliest surviving
compositions for trumpet and organ-dating from 1638. Their
structure is simple and relatively uninteresting. Aithough the lis-
tener is provided with some very fine playing on the Baroque
trumpet. the practical use of these compositions is questionable.
The German compositions on side two are most enjoyable. The
Pezel sonatinas for two trumpets and continua are generally well
performed; Tarr and Eklund exhibit some fine ensemble playing.
Johann Ludwig Krebs. one of J.S. Bach’s favorite pupils, has
left a collection of six chorale preludes for trumpet and organ. The
two recorded here are played on a jsgertrompette (coiled). In both
pieces Krebs places the cantus firmus in the highest clarino register
and the result is majestic.
Telemann’s Air de trotnpette has been recorded before, but this
time comparison shows the Tarr performance to be disappointing.
Tarr performs the Air on a Baroque trumpet and the result is un-
satisfactory.
The Rieger organ used for this recording is a wonderful Baroque
instrument. and it is most unfortunate that the balance between
trumpet and organ is so poorly recorded. The organ sound is very
much in the background and consequently many very fine regis-
trations go unnoticed.
The outstanding liner notes provided by Tarr certainly merit a
word of praise; the useful information provided regarding sources
and modern editions of the music, the instruments and mouth-
pieces used, and the specifications of the organ is also to be com-
mended.
In short, this album is a valuable addition to the present trum-
pet discography. (Paul T. De Boer: Camrose Lutheran College)

ITG Survey Report

The following is a summary of responses to a questionnaire which was sent to all new members of the ITG during its formation in late
1974 and 1975, and was also mailed with the newsletters of February? 1975 and August, 1975. The “interim Steering Committee” was
asking for help in establishing the goals and directions for the ITG. As you can see, many of thesc’projects already have been enacted.
Clifford Lillya tabulated the results of the approximately 290 foniis returned.

RATINGS: (No. 1 - Highest:No. 12 - Lowest) 1 2 3 4 5 6 7 8 9 10 11 -12

“Getibership:Direc‘tbry’ 31 39 31 19 28 26 13 18 16 II 1I 20
’ N&wsletter:::’ ‘, I .:.r. i 84 55 25 25 18 16 7 6 IO 8 7 1
Recording Library/Archives 9 17 25 30 24 21 25 27 36 22 18 13
Music Library/Archives 21 22 21 .27 29 15 25 27 23 25 19 10
New Music Commission Project 29 16 23 26 16 26 21 25 30 23 17 12
Recording Projects 6 8 I6 13 13 30 26 38 44 30 27 15
Student Performance Competitions 14 20 25 25 26 28 29 15 22 17 23 17
Research/Development Projects I8 24 30 30 25 24 30 22 18 26 12 10
Scholarship Program 18 16 21 23 20 18 20 25 33 27 25 I7
Affiliation with other Brass Societies 18 10 16 13 16 15 21 26 25 33 34 40
Establish Regional Meetings 19 28 21 21 20 30 21 17 33 21 27 21
Publish Annual Journal 14 30 29 12 I9 15 18 21 20 24 18 32

Interested in Joining Local Regional Chapter ITG? Yes-249; No- IO; Maybe- 10
Interested in Helping Organize such a Chapter’? Yes-1651 No-74; Maybe-26
Willing to be Correspondent for ITG Newsletter/lTC Comtnunications? Yes-138; No-97; Maybe-24

47
 A List of Brass Dissertations-1976-l 977
by Stephen L. ‘Glover
Last year I prepared A List of Brass Dissertations Since I9 72.
The present list has been compiled from the following numbers
of Dissertation Abstracts International: Vol. 37, No. 4 (October,
1976) to Vol. 38, No. 3 (September, 1977). It is suggested that my
previous list be consulted for more detailed information about the
usefulness of the present list.
The present list is intended to aid the researcher in finding ma-
terials pertinent to his study in the brass area. Basically, the list
will save the researcher time. In a few minutes it is possible to scan
information that would normally take hours to locate. The list
shows all dissertations that focus mainly on brass. Also included
are a few dissertations which may have a peripheral interest to the
brass instrument researcher. The reader is cautioned to consider
the present list a finite one compiled from the “Music” and
“Music Education” sections of DAI. Notably not included are:
dissertations completed but never registered with University
Microfilms, dissertations completed at universities which are
not in the DA1 program, original Compositions (submitted for
degrees) even though they may feature brass, and performance
degrees when a written paper was not submitted.
Once a dissertation of interest is chosen the following steps may
be taken: 1.) Using the volume and page numbers cited, refer to
Dissertation Abstracts International to determine the general con-
tent of each dissertation to determine if it is appropriate to your
own study. Please note that DA1 is now divided into two sections
(each month): the “A” section for Humanities (which always in-
cludes music) and the “B” section.for Science. 2.) If it is deter-
mined that a particular work should be consulted, the researcher
may proceed in one of two ways. First, contact the reference
department of your university or public library and ask that the
dissertation be borrowed through the Interlibrary Loan system
from the institution which granted the degree. The loan beriod
may vary from a few days to a few weeks, and the service will cost
very little. However, not all holding libraries will send materials.
Second, if the Interlibrary Loan system fails or if you determine
that you would like to own a copy of the dissertation, copies may
be purchased as microfilm (currently $7.50 per title in the U.S.) or
as xerographic prints (currently-$] 5.00 per.title in the U.S.) from:
University Microfilms, Dissertation Copies-P.O. Box 1764.: Ann
Arbor,,Michigan48 106: It is-recommended that persons interested
in obtaining copies write to University Microfilms for an order
form before placing an order as a complete description of all ser-
vices and current costs are given.
In the following list, the order number is to be used when pur-
chasing copies from University Microfilms. The next set of numbers
indicate the volume, number. and page to be used when consulting
Dissertation Abstracts International.
Alexander, John Lee. “Modern D Trumpet Technique.” D.M.A.,
University of Missouri-Kansas City, 1976. 21 1 pages. Order
No: 77-16,864. 38A/2, p: 535.
Bachelder, Daniel Fred, “An Investigation
of Trombone ‘Tone
Center’.” Ph.D., Brigham Young University,, 1976. 124 pages.
Order No: 77-2174. 37A/8, p. 468 I.
Chafe, Eric Thomas. “The Church Music of Heinrich Biber.”
Ph.D.,-University of Toronto (Canada), 1975. 37A/lQ, p. 6’128.
[Order No. and length not given.]
Hanson, Wesley Luther. “The Treatment of Brass Instruments in
the Symphonies of Gustav Mahler.“’ D.M.‘A., University of
48
Rochester, Eastman School of Music, 1977. 371 pages. Order
No. 77-8313.37A/l2, p. 3792.
Heath, Clayton Eugene. “The Effect of Instruction on the Consis-
tency of Ratings Given in the Adjudication of Trumpet Solo
Excerpts.” Mus:Ed. D., Indiana University, 1976. 162 pages.
Order No: 76-24,480. 37A/5, p. 2707.
Held, David Paul. “Chorale Preludes Composed in the Eighteenth
,Century for Organ and a Solo Instrument.‘: D.M.A., University
of Southern California, 1976. 37A/9, p. 543 1. [Order No. and
length not given.]
Hummet, Donald Austin. “A Selected and Annotated Bibliography
of Original Works for Trombone Trio.” D.M.A., University of
Missouri-Kansas City, 1976. 149 pages. Order No: 76-25,147.
37A/5, p. 2481.
Kidwell, James Kent. “An Annotated Performance-Recording
Project of Selected Solo Music for Trombone with Band Ac-
companiment.” D.M.A., University of Oklahoma, 1976. 108
pages. Order No: 77-l 2,744. 37A/l2, p., 7394.
Kirk, Paul Judson, Jr. “The Orchestral Tuba Player: The Demands
of His Literature Compared and Contrasted with Tuba Training
Materials.” Ph.D., University of Colorado, 1976. 165 pages.
Order No: 76-23>633. 37A/4, p. 1865.
Koerselman, Herbert LeRoy. “A Comprehensive Performance Pro-
ject in Trumpet Literature with an Annotated Bibliography of
Brass Study Materials Which Deal with Performance Problems
Encountered in Contemporary Music.” D.M.A., University of
Iowa, 1976. 187 pages. Order No: 77-13,153. 37A/l2, p. 7395.
Lane, George Bertram. “The Trombone: Its Musical Environment
from the Late Middle Ages Through the Late Renaissance.”
D.M.A.. University of Texas at Austin, 1976. 442 pages. Order
No: 76-26,735. 37A/6. p. 3259.
Price, Jeffrey Keith. “A Study of Selected Twentieth-Century
Compositions for Heterogeneous Brass Ensemble and Organ by
United States Composers.” D.M.A., University of Missouri-
Kansas City, 1976. 308 pages. Order No: 76-25.150. 37A/5, p.
2484. -_,
Roznoy, Richard Thomas. “A Stylistic Adaption of the Piano Ac-
companiment of Paul Hindemith’s Sonata for Trombone and
Piano, for Wind Ensemble.” Ph.D., University of Wisconsin-
Madison, 197.6. 156 pages. Order No. 76-28,937. 37A/9, p.
(5434.
Runner, David Clark. “Music in the Moravian Community of
Lititz.” D.M.A., University of Rochester, Eastman School of
Music, 1976. 100 pages. Order NO: 77-8312. 37A/lO, p. 6134.
Schumacher, Stanley E. “An Analy.tical Study of Published Un-
accompanied Solo Literature for Brass Instruments: 1950-
1970.” Ph.D., Ohio State University, 1976. 275 pages. Order
No: 77-2497. 37A/8, p. 4689.
The following may also be of interest:
Gibson, Daryl Robert. “A Photographic Study of Twelve Profes-
sional Trumpet Embouchures While Playing from the Low to’
the Extreme Upper Register.” Ph.D., University‘of Minnesota:
1973. 223 pages. Order No: 74-t 0,641. 34A/l 1, p. 7266.
White, Elmer Russell. “Electromyographic Potentials of Selected
Facial Muscles and Labial Mouthpiece Pressure Measurements in’
the Embouchure of Trumpet Players.” Ed.D., Columbia Univer-
sity, 1972. 158 pages. Order No:‘73-2634. 33A/8, p. 3977.
Dissertations in other fields-such as physiology, acoustics, and
p~~y~cs-‘&l~ be s‘h,own l’n f%ure &~~i]i they hrk brought to .&zy
aitention
: :’