extended trumpet performance techniques

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EXTENDED TRUMPET PERFORMANCE TECHNIQUES

A Thesi s Presented to the Graduate Facultyof

California Stat e un ive rs ity, Hayward

In Part ia l Fulfil lmentof the Requirements for the Degree

Master of Arts in Music

~Atti l io N. TribuziSeptember, 1992


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EXTENDED TRUMPET PERFORMANCE TECHNIQUES

Att i l io N. Tribuzi

Approved:~ ~~ ~i i

Date:

~ O \ J . IS)J " 2---Jk,. /, /ft2.-Alt>l. I(, I 1'1


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CONTENTS

I . INTRODUCTIONI I . SURVEY OF LIP-PRODUCED SOUNDS

Page1

5A. Jazz Effec ts 51. Glissandi 52. Other Effec ts 10B. Timbre Modificat ion 121. Mutes 122. Vibrato Effects 173. Other Effec ts 20C. Spat ia l Modulation 23D. Non-S tandard Valve Techniques 28E. Non-Standard Valve Sl ide Techniques 33F. Microtones 41G. Extensions of T r ad it io n al E ff ec ts 51

I I I . SURVEY OF NON-LIP PRODUCED SOUNDSA. Airstream Effec tsB. Percussive Effec tsC. MultiphonicsD. Dramatic Effec ts

IV. CONCLUSIONSV. BIBLIOGRAPHY

A. Books and Per iod icalsB. Musical SourcesC. Selected Discography

VI . APPENDIX

iii

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I . INTRODUCTION

I t is d i f f icul t to find an instrument whoserepertoire has changed more profoundly than the t rumpet 's .In the ear l ies t times, the trumpet served as a signal inginstrument for war. Despite incomplete documentation, we cansay with c er ta in ty th at trumpeters were among the f i r s tmusicians hired by medieval courts, no doubt because of the i rmartial and ceremonial functions. 1

One of the most important events in the history ofthe trumpet was i t s acceptance into the a r t music of theseventeenth century.2 This led to the addition of numerouspieces to th e trumpet's reper toire , and a MGolden Age- of thenatural trumpet occurred. 3

As the Classical style of composition supplanted theBaroque, th e trumpet's repertoire entered a s tate of gradualdecline. The compositional s tyle of the era ref lec ted thesocieta l idea that the old court ly culture (represented by

1Edward H. Tarr, The Trumpet, t rans. from the Germanby S.E. Plank (Portland,Ore.: Amadeus Press, 1988), p. 43.

2 T h ~ ~ 8. , p . 5.3.I1;Wl.

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the trumpet) was out of date. 4 The new s tyle made a t u t t iinstrument out of the once heroic trumpet, which formerlyhad the melody.5

With the inven tion o f piston valves in 1815, thefunction of the trumpet changed again. The trumpet nowpossessed t rue chromatic capabil i ty , and i t slowly regainedi t s place as a solo instrument in the works of Romantic,composers.

With the development of jazz in the early twentiethcentury, the newly-acquired chromatic abi l i ty of the trumpetenabled i t to improvise, and th is , coupled with i t s tone,gave i t a lead role in th is new music. Jazz per fo rmers notonly added an immense wealth of music to American culture,but new performance techniques for the trumpet as well. Jazzmusicians such as Louis Armstrong and Harry James have shownnot only the great agi l i ty and compass of their instruments,but the i r wide tonal and expressive character is t ics . 6 Rips,pops, smears, growls, shakes, glissandi , l ip s lurs and l ipt r i l l techniques were added to the trumpet player ' srepertoire and have since become standard pract ice in manycontemporary s tyles .

4Ibid., p . 138.5IQid., p. 144.6Reginald Smith Brindle, The New Music (London:Oxford University Press, 1975), p. 157.


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As a variety of compositional s tyles continued toevolve through the twentieth century, composers found i tnecessary to expand the modifications of the i r soundsources.Composers real ized the vast quantit ies of untappedsounds available to the modern trumpet. Since the 1940's,new performance techniques, including l ip produced and nonl ip produced sounds, have been steadily added to thetrumpet 's repertoire .

Many problems arise when attempting to perform theseextended techniques. Often the composer of a work includesdetailed instructions for the performance of thesetechniques, but this i s by no means the rule . Also, as inthe case of contemporary notation in general, similartechniques may actually be notated differently by differentcomposers.

The compositions surveyed in th is thesis exhibit awide variety of extended techniques and present a broadsampling of new music for the trumpet since 1970. Each piecei s ei ther for unaccompanied or accompanied trumpet solo.Accompaniments range from piano, organ, and orchestra, topercussion and prerecorded audio tape. All musical exampleshave been selected to i l lus t ra te specif ic techniques oreffects that are considered -extended, or outside of thetechnical demands found in the common practice of trumpetperformance, and are in B f la t unless otherwise indicated.


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Each effect wil l be analyzed in five areas:

l. How i t i s notated2. How i t i s produced3 . How to prepare i t for performance4. How prac t ica l i t i s to perform5. What kind of musical effect i t produces.

Spec if ic p it ches and octaves referred to in the t ex twil l use the designations found in The New Haryard Dictionaryof Music. Middle C is designated C '. In th is system, theform of the name changes with each C, proceeding upward. 7

$ -e--DS 0 a-a _ ~ , -&C1 C e C' e" em

This analysis will demonstrate the vast soundresources a vailab le to the trumpet and wil l help in theunderstanding and performance of these extended techniques.

7Don Randel, pi tch Names, The New HaryardDictionary of Music, (Cambridge, Mass.: The Belknap Press ofHarvard University Press, 1986), p. 640.


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I I . SURVEY OF LIP PRODUCED SOUNDS

A. Jazz Effects

1. G lissandi

Trumpet techniques from various jazz s tyles arefrequently borrowed by composers working in other musicalidioms. Of these techniques, i t i s th e g lis sando (uncommonin pre-twentieth century works for trumpet) that has beenmodified and employed in the g reat es t var ie ty of ways. Theconvent iona l g l issando i s performed by s l id ing from onepi tch to another by using a fast valved or half-valvedprogression o f inte rmed ia te pitches. In Example 1, theglissando progresses from e '" to c '" sharp, passing throughthe e '" f l a t and d"', and is notated in a standard way.Example 1. Basil Chapman, Impressions for Solo Trumpet and~ , p . l .

~ oI , I I

5

-


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variat ions on the performance of the glissandousually involve the actual method of fingering the s l ide . -In Zyklos, by Gerhard Muller-Hornbach, three types ofglissandi are used. 8The f i r s t , shown in Example 2, includesthe notation of the exact pitches sounded, a l l to beperformed with the 1-3 valve posit ion, simply ascending onthe natural overtone series of tha t fundamental.

Example 2. Zyklos, p.1.

rn..;,. .--------------------------r

The second type of glissando requires -flying valves- (rapid,uncontrolled valve movement) to produce the - s l ide . -


8Gerhard Muller-Hornbach, Zyklos (Wiesbaden, WestGermany: Breitkopf and Hartel, 1986), p . i .

6


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The third type o f g lissando i s produced by depressing a l lthree valves halfway when sl iding between pitches. InExample 4, -HV- stands for half-valves and the en tire lin e isto be perfo rmed in th is manner.

Example 4. Zyklos, p. 6.

Irn- - - - - - - - - - - - - - - - - - - - - - - - - - - r HV_ _ _ _ __ - - - - - _ _ - _ _11= ~ \ t u ~ ")@ ~ , - - - - ~ ' = - - - ~ ~ ~ _ ... . . . - - _ ~ - - - - - : ' \ ! ) ~

pf I)

Another type of half-valve glissando i s found inRobert Erickson's ~ , where -the 1/2 i s not to be takenl i t e ra l ly ; rather , i t means depresp a valve or somecombination of valves to produce th e notated glissando.- 9

Example 5. Robert Erickson, ~ , p.2.

9Edwin Harkins, in additio na l notes to ~ (SanDiego: Sonic Art Publications, 1980) p. iv .


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A much less common form of glissando can also be found in~ , ut i l iz ing the thi rd valve tuning sl ide to produce thepi tch change. In Example 6, the boxed symbols areinstruct ions to change the posit ion of the th ird valve s l ide(arrow right= extend; arrow left= return to normal; the t a i l son arrows show specif ic points of change).

Example 6. ~ , p.lO.

All of the above gl issandi are readily produced bythe performer and require only that the trumpet player followthe precise performance notes provided by the composer toensure a consistent performance. They a l l offer a val idmusical variat ion on the standard trumpet glissando. Troublear ises in Example 7, however, when a non-standard glissandonotat ion is not accompanied by any performance notes.

Example 7. Enrico Banzola, Theme-c for Trumpet Alone, p .l .. onza r'_oro d i :o":,po ~h . _ ~ ?energiCO{i75)\J: - + g h S ~ . ' .


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In the preceding example, the double arrows are sometimesaccompanied by the instruction Mgliss. ,M sometimes not .Nevertheless, i t i s obvious that some sort of glissando isrequired each time. The exact method of producing theglissandi i s not apparent from th e notatio n, leaving theperformer to in terpre t the composer's intentions.

Since there are many ways to'perform gl issandi on thetrumpet, the following chart helps to summarize them. I tcompares t he g lis sando timbre to the normal trumpet sound:timbre consistency throughout th e g li ssando , the widestpossible range of th e g lis sando, step avai labi l i ty ,instrument avai labi l i ty , and a guide to tec hn ic al dif f icu l ty .The M+_ and M__ signs indicate posit ive or negative t r a i t s .

Chart 1. Edwin Hark ins , -Aspec ts of ~ - a Trumpet Piece-,Internat ional Trumpet Guild Journal, (Oct. , 1980),p.24~ .J .J.J >,..-l l : ...-l

Gl l : r-l Glr-l .Jr-l'O 0. ...-l :E r-lti l l : Gl Gl Gl,Q : ll : ,Q.J ~ .J III III uIII ~ : l e ~ '..-lo 0 Ulr-l .Jr-lGl ZU l ..-l til ..-l ti l ..-l ~X Eo< l : l%: III l : III ~8 ~ H > '..-l, 0valve s l ides + + 1/2 s tep + + easy

mediumha l f valve - 1/2+ t o t a l + + d i f f i c u l tmedium l i p - + 1 s t ep + + d i f f i c u l t

mutes - - major 3rd + + easys l ide t r p t + + t r i tone 1/2+ r a re easySl ide /va lvet r p t combo + + minor 3rd + r a re easy


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2. Other Effects

Besides glissandi , many other standard jazztechniques are borrowed by composers and are usually notatedin the t radi t ional way, even i f found in music not considered- jazzy.- Examples 8 through 11 are indicat ive of theemployment of these effects . Examples 8 and 9 i l lus t ra te twotypes of -shake notation: the f i r s t with a defini te rhythmicvalue, the other indef ini te . The shake can be produced byrapid l ip motion (like an uncontrolled l ip t r i l l ) or by rapidhand motion (-bouncing the trumpet s l ight ly on theembouchure), or by a combination of both, causing a rapidf luctuation of pitch and timbre. The - r ips found inExamples 9 and 10 are close relat ives to the glissandi andonly di f fer in the abruptness of the sound. Likewise, - fa l lof f and -quick drop notations found in Examples 9 and 11indicate an uncontrolled downward release of the pi tch.

Example 8. Glenn Smith, . . . to seek the center of quie t, p .4 .


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Example 9. Samuel Pellman, Trump-it, p.G.

- ~ - f - f - I ' - - - T ' r ' \ - - : t + c : : - o - " , , : - C = t o . : - f - - - - - - - - - - - 3 0 ~ - - ',.. \tJQ.s{f ~ q t

Example 10. William Kraft, Encounters I I I , p.14.

~fRun Amuck-

Example 11. Edward Diamente, Something Else, p.?

] "

The inclusion of these t radi t ional jazz effects , aswell as others , in non-jazz music i s common p ra ctic e incontemporary compositions, and i t mandates that class ica l lytrained trumpet p lay ers are now required to performtechniques that were once relegated s t r i c t ly to jaz z p laying.


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B. Timbre Modification

1 . Mutes

Timbre modification, or the a l t e r a ~ i o n of the basictimbres available to the trumpet, i s one of the mostfrequently extended trumpet techniques. The plethora ofavailable mute types (straight , wa-wa, Solo tone, whisper,plunger, cup, and Harmon, to l i s t but a few), as well asthe i r method of employment, add a great variety of timbres toth e trumpet's natural tone. In Example 12, a color-codedshape notation i s used, with the shapes corresponding to thedifferent mute types. A green shape instructs the player toinser t the mute; a red shape, to remove i t . The shape inExample 12 is that of the Solo tone mute. 10

Example 12. Lucia Dlugoszewski, Space is a Diamond, p.2.

(green) (red) (green)

10Luc ia Dlugoszewski, Space is a Diamond, (Mass.,Margun Music Inc. , 1970), p . i i .


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Example 13 provides another i l lust ra t ion of shapenotation, but without the color. The blackened shapein dic ate s th at the mute i s in the bel l i the whitened shapeindicates tha t the mute i s removed but held near the bel l toallow for quick alternation. I t must be pointed out that therapidi ty of th is alternation does not allow for the mute tobe completely in serte d in to the bel l , but must be held inposit ion with the hand. The mute called for in th is examplei s a Harmon mute.

Example 13. Frank Tichel l i , The Firs t voice, p.2.

t-_':>--J __1._3 - - - ~ 3 _A f ; , _ ~ ~- = ~ m ~ = m - - Fffl$==7'- - - = = - : - ~ - ~ 1 - - j - - J . .. J,=-j, 1------~ s f f se",fi;i -" _. _ .Example 14 i l lus t ra tes another extended muting

technique tha t i s commonly used--the gradual opening orenclosing of the trumpet 's bel l . Seven symbols are used toindicate seven posit ions of a derby (in th is case) over thebel l , from fully enclosed to fully open.


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Example 14. Samuel Pellman, Trump-it, p.3.r----------- 30" --------------,

DRl>Y ~ - '* _ + -$-- - - - 0 --. 0i - = m - - - - - - - - - - ~ r----J}Other gradual mutings can be found which use

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varying notat ions. Example 15 i s from muted to open; Example16 i s from open to closed; and Example 17 combines the two.Example 15. Charles Whittenberg, Polyphony for C Trumpet,p. 5.

Example 16. Glenn Smith, . . . to seek the center of QUiet,p.3.

Example 17. Betsy Jolas , Episode Troisieme, p.4.+

t:\ ,t ~ % t g I Q I J ' $ ~ . : ~ . ~ ? ~ ntube rentre . , . -stem in


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The most extensive notation for the gradual motion ofmute placement in the works studied occurs in Example 18.The circled w above the s taff indicates the use of a wa-wamute. The differing degrees of openness a re codifie d by akey using the phonetic alphabet, with each symbol placedbeneath the corresponding note. The bracketed port ionsindicate a continuous t ransi t ion between the various degreesof openness, and the ver t ica l l ines show the exact rhythmicplacement of the changes in muting. 11

Example 18. Karlheinz Stockhausen, Eingang und Formel, p.2.

-.. .1120 I~ 3 ~ : .. 1-a . -U; ) -U au oaca ;) 0 u l u - a

= completely closed by hand,

[0 ][a][:>][0][u][u]

= completely open

1: .

[ u - o ] , [ :> -- 0] etc. = continuous transition.[ a u 0] etc. =sudden change.

11Karlheinz Stockhausen, Eingang und Formel, (Kurten,W. Germany,Stockhausen Verlag, 1978), p . i i .


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All of the above techniques require tha t theperformer learn the notational language employed b thecomposer. Once learned, however, these techniques arestraightforward, but offer a challenge to the trumpetplayer 's dexteri ty. When these techniques are used inaddition to others, however, they become much more di f f icu l t .A demonstration of th is is found in Example 19, where a Solotone mute, gradually covered with the palm, i s used inaddition to a s t r i c t ly regulated vibrato, necessitat ing afine coordination of l e f t and r ight hands to produce theintended effect , since the composer cal ls for a Mhand-vibrato. 12

Example 19. Samuel Pellman, Trump-it, p.4.

12see page 17 fo r d is cu ssion of vibrato effects .


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2. Vibrato Effects

Muting is but one way to a l te r the trumpet's b as ict imbre. As i l lus t ra ted previously by Example 19, vibrato i ssometimes notated as well. Trumpet vibrato. can be producedwith the hand, jaw, throat or diaphragm, or by combining anyof these methods. In a l l of the following excerpts, theactual method of vibrato production i s le f t to the discre t ionof the performer. Example 20 portrays a vibrato regulatednot by tempo, but by the number of pulsa t ions , notated by aconsistent wave. Therefore, the d '" should be p layed with awide vibrato with five wave c res t s before glissing down tothe f sharp. In contrast , the following F sharp should beplayed with a sl ightly narrower vibrato.



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Another method of notating vibrato i s with a variablewave, in th is case, diminishing the width of the vibra to asthe volume of the passage decreases.

Example 21. Edward Diemente, Something Else, p.9.

While vibrato i s usually notated by a wave, i t i s by no meansa universal symbol. In Example 22, the vibrato i s indicatedby exact rhythmic subdivisions given above the note.

Example 22. Kar1heinz Stockhausen, Eingang und Forme1, p.2.


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The problems inherent in the precise notation ofvibrato become apparent af ter ref lect ing on the above fourmusical examples. To accurately notate vibrato, the widthof the vibrato, as well as i t s speed,- must both berepresented. Stockhausen 's technique of indicat ing speed byusing standard rhythmic notation is extremely eff ic ient , buti t lacks any defini t ion as to the width. The wave- notat ionused by other composers i s less precise, and composers wil lvary in respect to what const i tu tes wide- or - fas t - vibrato,even though they use s imi la r no ta tiona l symbols. However,the re la t ive speed and width can be made consistent by athoughtful interpretat ion by the per former throughout thelength of the piece. Ultimately, i t is up to the performerto judge the musical applicat ion of this notation in thesepassages.


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3. Other Effects

Timbre modifications other than muting and vibratooccur as extended techniques in th e trumpet's repertoi re butwith much less frequency. The level of performance in theseexamples range from easy to di ff icu l t . Of the easies t ,Examples 23 and 24 i l lus t ra te tne use of the trumpet as aloud Mnoisemaker.-

Example 23. Jere Hutcheson, Three Pictures of Satan, p.3.

Example 24. william Kraft, Encounters I I I , p . l l .CadeDza

Freely. P l ' ~ i

.f%

The musicali ty of these -effects- may be open to debate, butin context are quite -effect ive.- Other timbre al terat ionsare much more involved. Two examples from Space i s a Diamonda re f as cin ati ng in the i r application. In th is piece thecomposer cal l s for the trumpet player to perform the extreme


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high regis ter in a novel way. The valves are to be depresseds l ight ly , and the embouchure aperture must be very small .The l ips vibrate the correct pitch with hardly any pressurefrom the mouthpiece and instrument. 13 The pitches are thenperformed soft ly, making a dis t inc t contrast to normal highregis ter playing.


Elsewhere in th is piece, the trumpet player i sinstructed to perform a normal valve t r i l l on g"', breathe,and then t r i l l an octave lower with the hand al ternat ing inand out of the bell . This technique is indicated by thecomposer with a s tar .

Example 26. Space is a Diamond, p.3.

13Luc ia Dlugoszewski, p. i .


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Both of these techniques are very di f f icu l t toperform and require immense amounts of pract ice time todevelop the consistency necessary to real ize an authenticrecreation of the composer's intentions. Both areaccompanied b highly detailed composer's notes tha t great lyaid the performer. Space i s a Diamond is ful l of extendedtechniques, and the piece is best summed up b the followingquote by Glenn Watkins:

While extensions of playing techniques have been exploredon vir tual ly every wind instrument, perhaps no work forthe trumpet provided a more complete catalog of thepossible and the impossible (except for i t s dedicatee,Gerard Schwarz) than the tour de force Space i s Diamond(1970) b Lucia Dlugoszewski'14

14Glenn Watkins , Soundings , (New York: Schirmer,1988), p.632.


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C. Spat ia l Modulation

Spatial modulation involves the active motion ofsound from one point to another. lS This has been achievedthroughout music history with ensembles using antiphonalchoirs but i s rarely found in works fo r so lo instruments.Spat ia l modulation can be achieved simply by having theperformer play offstage during certain par ts of a piece, asin Glenn Smith's . . . to seek the center of quiet; or to en terthe performance area while playing the opening measures of apiece, as in Karlheinz Stockhausen's Eingang und Formel; butthese are not real ly extended techniques. However, othermeans of spat ial modulation are found in the trumpet 'sr ep erto ire th at ~ extended. For example, simple bel lmovement by the performer can be indicated in a piece toproduce th is effect , a s p rev iously seen in Example 9 (on page11) and reproduced again here.

Example 27. Samuel Pel lman, TrumQ-i t, p.6.

ISDavid Cope, New p irec tio ns in Music, (Dubuque:Kendall Hunt Publishing Co., 1976), p.121.


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This movement of the bel l from up to down, into the metalwastebasket, modifies the timbral as well as the spa t ia lcharacter is t ics of the trumpet sound, and i s effect ive , i fsomewhat humorous (despite the composer's s tatedintentions) .16 Another example of simple bel l motion (devoidof humor) i s given in Examples 28 and 29 (on the followingpage). Here, the direction and motion of the trumpet be l lcreate a unifying compositional device in tegral to the formof the piece. In measure one of A ries, the trumpet player isin stru cte d to raise the instrument from pointingperpendicular down at the floor to pointing s t ra ight ahead.In measure five, the trumpet should sink down to o rig in alposi t ion (perpendicular pointing a t the f loor) , and theplayer should play to the floor, a t f i r s t in small je rks , onejerk per note. By measure twenty, the trumpet player shouldplay a l l signals high in space and in various direc t ions . 17

16Samuel Pellman, Trump-it (New York: EditionDelusive Phantom,1982), p.8.17Karlheinz Stockhausen, Aries (Kurten, W. Germany,Stockhausen Verlag, 1981), p. i .


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Example 28. Karlheinz Stockhausen, Aries, p . l .

3ITetlhft& laser ICotnICCIItN a -t AlItS , . , . . .aL" t l-. . " i ~ r ... . ,) , I

~ J I I f t ' ~ I I J'f ""'P"'W I LJ~ I &--(i}i.I [U.I] Tp....... _ .............s....-.c ..lJ.t211 ~ t . - . . .......I. I.,. I.,., ~ . . . . . .pidM. 3>


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While musically valid, the above extended techniquespresent l i t t l e diff icul ty for the performer. A much morecomplex and meticulously detai led example of spat ia lmodulation occurs in zyklos by Gerhard Muller-Hornbach. Inthe performance notes the composer ins t ructs the player torota te to different posit ions for each of the s ix pages ofthe piece. A diagram is supplied to i l lus t ra te th is , with Plbeing page one, P2 page two, and so on.

Example 30. Zyklos, p. i .

P6

P3(audience)


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Additional spatial modulation is included in th ispiece which i s represented by a special notation tha tins tructs the trumpet player to ro ta te the trumpet from l e f tto r ight or vice versa. These motions are indic ated abovethe normal s taf f on a continual three-l ine s ta f f ( l=lef t ;m=middle; r=right) .


~ ' : : : ~ ~ ~ s . S ; ; ; : : : = = = = = : ; ; ~ ; ; ~ ~ ~ ~ 5 S . ; ; = = = ? ; ; ~ ; ; ~ ~ ~ ~ ~ ~ ~ ~ ~r - - - - - , ~ - - __ ~ = - - - - - - - - , ~ - - .... = - - - - - - - - - -

The employment of the preceding technique addsanother l ine of notation for the trumpet player to follow, inessence making the music twice as diff icul t to read (andtwice as diff icul t to practice) . Done properly, however,this technique effect ively al ters the direct ional dimensionof the trumpet sound and can function as a motiv ic dev ic e aswell. When spat ia l modulation i s used in pieces with morethan one trumpet, the effect i s multiplied and is even moreeffect ive . 18

18Cope , p .121.


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D. Non-Standard Valve Techniques

The most commonly found extended valve te chnique i sthe use of ha l f valves, the semi-depression of valvecombinations to produce a non-standard trumpet tone. Thismay be considered to be related to j azz techn iques, but themusical applications and notations in contemporary c las s ica l music are quite dif ferent . Several methods ofnota tion a re used for these effects . In Example 32, thenoteheads are notated normally, with the half valveinstruction marked at the beginning of the passage, informingthe player to half depress the appropriate standardf ingerings throughout.

Example 32. Charles Whittenberg, PolYQhony for C TrumQet,p.4.


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In Example 33, the noteheads are again writ tennormally, but each half valved note i s indicated with a . ~ . :

Example 33. Diamente, Something Else, p.13.

When half valved notes are writ ten without normalnoteheads, an X is usually substi tuted. In Frank Tichel l i ' sThe Firs t voice, the performance notes s t ipula te that a l lhalf valved notes are to be fingered with a l l three valves a thalf posit ion unless otherwise indicated by valve posit ionsin parentheses above the note in question. 19

Example 34. The Firs t Voice, p.4.

19Frank Tichel l i , The Firs t Voice, (Cheltenham,Maryland: PP Music, 1987), p. i i .


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The preceding half valve techniques are a l l fair lystraightforward and require only a small amount ofpreparation time to perform successfully. The trumpet soundis obviously somewhat muffled, and the effects are s l ight lypercussive, but the pitches are clearly audible. Half valvetechniques can be (and have been) extended further, however,to include a variety of options. In Example 35, again fromThe Firs t Voice, the half valved notes are to be played witha l l three valves at half posi t ion, but the c i rca markingsindicate that the pitches are approximate and the trumpetplayer i s to play according to the contour of the notes. 20

Example 35. The Firs t Voice, p. l .

The above example i s more di f f icu l t to perform andrequires significant ly much more preparation time than theprevious examples. The diff icul ty is compounded fur ther dueto the mute changes and the variat ions in art icula t ion.Special care must be taken to learn the correct placement(even though approximate) of the desired pitches when the

20.I!llil.


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trumpet i s played with a l l three valve dpres sed halfway, andthe dis t inct ion between slurring and tonguing the c i rca-passages must be practiced. I t i s best to begin pract icingthe correct pi tch placement through l ip s lur dr i l l s , and onceth is i s mastered, to proceed to the tonguing of the pitches.Once accomplished, i t becomes possible for the performer tofollow the composer's detailed instruct ions and reproduce thedesired musical effect . When the piece lacks these detailedperformance instruct ions by the composer, problems can arise ,as evidenced in the following example. The composerin dic ate s th at the g ' i s to be half valved, but no valveposit ion i s indicated.

Example 36. Wayne Gorder, 1 Point 2, p.1.

) : bO X. (v!..~ = = H - i = ~ = E f r ~ ~ ~

f

This passage leaves the performer to decide whichf ingering to use to produce the desired effect since g' i s anopen posit ion. Logic dic ta tes a 1-3 half valve posit ion, butthe composer should have st ipulated this to avoid anypossible ambiguity.


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The next half valved example i s very di f f icu l t toperform due not only to i t s length, but also to theal ternat ions of types of half valved notes. The composerins tructs the performer that the diamond shaped notes are tobe half valved w ith exact pitch, while the x notes are tobe half valved with approximate pitch.

Example 37. William Hellerman, Passages I)-The Fire, p.14.

As i l lust ra ted by the preceding examples, half valvetechniques p lace an additional demand on the trumpet player 'sdexteri ty. In longer passages, such as Examples 35 and 37,l ip f lex ib i l i ty must also be practiced to achieve the propercoordination between pitch and f ingering when performing thehalf valve technique. I f half valves are used in combinationwith other extended techniques, the diff icul ty increasessignif icantly.


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E. Non-Standard Valve Slide Techniques

Non-standard valve sl ide techniques offer a challengeto the trumpet player 's dexteri ty and f lex ib i l i ty . Followingare two fair ly straight-forward examples wherein theperformer i s instructed to extend the third, or f i r s t andth ird , valve sl ides and produce a pitch a half step lowerthan that which is normally produced with the st ipulatedvalve combinations, thus creating a note that i s not o f f ic ia l ly in the range of the trumpet. Example 38 asksthe performer to play an E by extending the tuning sl ide , aswell as the third valve sl ide, and f ingering F sharp.Similarly, Example 39 directs the trumpet player to extendthe f i r s t and third valve sl ides and produce a G f la t and Fby fingering a G and F sharp. Both of these techniqueseffect ively extend the normal range of the trumpet downwardby a half step. Time must be invested with a tuning dev iceto determine the correct length of sl ide extension toaccurately produce the indicated pitches. Once learned,however, it is a valid technique for producing these pitcheswithout resorting to the use of a pedal tone and theinevitable timbre variation that would accompany i t semployment.


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34

Example 38. William Kraft, Encounters I I I , p.5.

tJ - == --= ==-'U -= .:::::=-- ---=== ===--; ~ ~ e ; ~ . ' " ... ... ~ . -........,., -T - - 1 ' ~ , " , , " " " -T -.) ; ~ ~ " " t b..- iIr iIr ~ y rI

==

1Pul l t un in q sl ide and extend 3rd valve slide. Finqer 23

Example 39. Karlheinz Stockhausen, Aries, p.1 2.

Another extended t echnique involving valve s l ides is

much more rare: namely, the complete removal of certain valves l ides from the instrument during certain passages of apiece. Example 40 introduces a fingered tremolo and cal lsfor the removal of the second valve s l ide .

Example 40. Frank Tichel l i , The Firs t Voice, p.2.

W ~ ~ ~ l ~ ~ ~ : ~ ; ~ ~ ~ ...-.(. r ~ , ) - ..__... J.' - I-i.+ ~ - . ' .. i.-.I. = - = 1 1 ~ - - ~ \ : ~ ~ - ~ ~ - C f ' ~ - - - - t - - t ' ~ - ~f "=1- - - -- 1 ~f


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The rapid al ternat ion of standard and non-standard fingeringsin Example 40 combines a -leaking a i r - sound with the tremoloeffect and only requires fast fingers to perform correct ly.

When comparing the s l ideless sound with the normaltrumpet sound, the former is :

a muted-trumpet type of timbre, i s less focused,e sp ec ially in the lower regis ter , has less loudnesspotent ia l , has more f lexibi l i ty of intonation (each s lo tof the deformed overtone series i s characterized py awider than usual -l ippable- range, causing considerabledif f icu l ty in attacking certain notes) , and exits from adifferent part of the instrument, which may even be aimedin a different direction.21

The prolonged use of th is technique in a passage e l ic i t s i t sprimary in teres t not so much from the s l ideless sound i t se l fbut rather in the al ternat ion between the s l ideless andnormal sound. 22 In Robert Erickson's ~ the performer i sasked to remove the f i r s t valve s l ide from the instrument.

Example 41. Kal , p.10.Jko .lg2 lHoo pO VlR'/eo sEloe AND a ~ 1

:P: .pp[8] }.c.J,2o(l; 14t""Y.> .' I ' I I 1'1~ j f t sPF21Edwin Harkins, -Aspects of Kryl-A Trumpet Piece-,Internat ional Trumpet Guild Journal, October, 1980, p.25.22.I.bi.d.


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Whenever one depresses the f i r s t valve in th iscondition, a part of the trumpet is short-circui ted and thesound is directed backward toward the player, ra ther than outthe bel l of the instrurnent. 23 For th is reason, i t i s wise tout i l i ze some sor t of sound reflect ing device behind theperformer, since i t will do no good to attempt to force thesound to obtain a balance between the two outputs. 24 Thepredominant and intriguing feature of this type of -preparedtrumpet- i s the effort less hocket between two tirnbralsystems, two intonational systems and two sound direct ions. 25

Additionally, the reading problem encountered withal ternate fingerings and microtones is even more pronouncedin this si tuat ion. Undoubtedly, most trumpet players do nothave these sl ideless fingerings memorized, and the fact thatthe fingerings must be looked at means that the performer isnot going to be dealing with a sight-reading s i tuat ion. 26

Therefore, the performer must take a gradual approachin preparing a sl ideless passage. The passage shou ld f i r s tbe played normally, hopefully memorizing the sound of thel ine . Next, i t should be practiced s l o w ~ y with the

23lbid.2 4 ~ .25lbid.26lbid.


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appropriate slide(s) removed, using a tuning device to ensureproper pitch placement. The passage can then be rehearsedun t i l i t can be pe rfo rmed up to tempo. During th is learningprocess, i t i s important for the performer to decide whetheri t i s better to look at the notes or th e fin ge rin gs as thepassage i s played in order to p l ayas accurately aspossible. 27

Learning to play a trumpet without various s l idesdemands tha t the performer learns a whole new se t ofintonation tendencies for the instrument. In addit ion, theplayer must learn to control a variety of incomplete anddeformed overtone ser ies . To aid trumpet players in th iscomplex and time-consuming undertaking, the following chartsa re o ffe re d. Each section deals with the instrument in oneof the six possible s li de le s s a tt it udes (completely s l idelessplaying i s not included due to the insurmountable overtoneinconsistencies). Affected f ingerings a re in dic ate d on thel e f t , followed by the most prevalent pitches available in theskewed overtone ser ies . Each pitch i s annotated with anarrow beneath i t , indicating the usual sharpness (upwardarrow) or f latness (downward arrow). In general, most ofthese combinations fluctuate wildly in the lower regis ter , soonly middle and upper regis ter pitch es are included.

27Ibid.


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Chart 2. Slideless Trumpet Overtone and Pitch Tendencies28

38

1-2-3 ~

3

1-3

2-3

~~

~

THIRD VALVE SLIDE REMOVED

1-' ..-I i ,.,.. -i f 1- .,=

#' t l~l ' ~ + -V

I ,,

, ,l ' l ' .,.. ~i' ..,..W I , , +.. ~ w +

FIRST AND THIRD VALVE SLIDE REMOVED

2-3 .,- .:If'.,. ~ 1- I '

+ t '"SECOND AND THIRD VALVE SLIDE REMOVED

~ ." -# -2-3 ".... v ".. '"~ I ' , 1k1-2-3 ~~ ~ ' t ~28compi led by the autho r.


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Chart 2. (continued)e~ EFIRST VALVE SLIDE REMOVEDU)~ #' ~1 ~ 11- i- ~ ~ .,. .~ ~ . 41-2 ,.M ~ 1" ~ .....

~ , .L1-3 ~ ,, 1" '"1" .,~ " ~1-2-3 j, -# -"f ' 1" ~ ~SECOND VALVE SLIDE REMOVED~ , It' :/I"'"2

1- 1" ~~ +1-2 I-I .,. .., l' 1"-2-3 ~ I , i- I 'I '~ ~ ~ ."1-2-3 ~ ~ , #',

~ ~ .".~ V

FIRST AND SECOND VALVE SLIDE REMOVED

~ ..,...1-2 ~ ~ ~ ~

1-2-3 ~ , tt,, +,.. t- .,.

39


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40

The s l ideless tendencies charts i l lust ra ted in Chart2 are by no means offered as an exhaustive analysis ofs l ideless trumpet playing. Variations in trumpet models,mouthpieces, and i nd iv idua l p laye r embouchure character is t icswil l a l l affect the ultimate pitches tha t are produced inth is manner. I t also must be stressed that there i s a greatf lex ib i l i ty of intonation tendencies due to the ambiguousnature of the overtone ser ies . There is an extremely w i d e ~almost uncontrollable varia tion in pitch in the lowestreg is ter below the s ta f f . In addit ion, a l l of the middle andupper range p itche s indicated in the charts are easi ly-l ipped- to further modify the intonation, so pitches otherthan those l i s ted are also possible to produce. Therefore,the charts a re o ffered p rimarily as a guide for composers, aswell as performers, to highlight the most readily producedpitches. Likewise, the sharpness and f latness annotationsbeneath these p itc he s indic ate direct ional tendencies only;the exact microtonal placement of these pitches wil l vary todiffering degrees and must ultimately be decided upon by theperformer on an individual basis . I t is hoped that futureperformers, as well as composers, of th is extended techniquewil l prof i t from this in fo rmation , using i t as a s tar t ingpoint and a referent ia l guideline for future performances andcompositions.


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41

F. Microtones

A microtone i s an interval smaller than a semitone. 29The most common microtone i s the quarter tone, but eighth,sixth, and thi rd tones are also found in some pieces. 30

The performance of microtones in normal trumpetplaying may be produced by - l ipping- 'the desired pitches withthe embouchure, or by using normal and al ternate valvecombinations (with or without the extension of the f i r s t andth ird valve s l ides) .3l The easiest (and most common) ofthese techniques is the employment of al ternate fingerings(sometimes called -color fingerings-) to produce a s l igh tpitch change. These finge rings a re usual ly ind icat ed abovethe note or notes in question with the standard valve numberdesignations, as seen in the following examples.

Example 42. G. Dmitriev, Concertino, p.?

29zack D. Browning, -Trumpet Techniques in thePerformance of Microtones-, International Trumpet GuildNewsletter (Vol. 5, no. 6, 1979), p. 6.30.IW.d.31.I..b.iQ.


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Example 43. Pellman, Trump-it, p.5.

Example 44. Andras Szollosy, Suoni di Tromba, p.3.

Example 45. Smith, . , , to seek the center of quiet, p .3 .

42


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The passages i l lus trated in Examples 42 through 45wil l produce s l ight microtonal variat ions, but i t i simportant to point out that the notation does not indicatethe extent to which these pitches wil l vary. Since thedegree of sharpness or f latness of the al tered notes i s notspecified, i t i s l e f t to the performer to place themsomewhere in the microtonal spectrum. A much more detailedmethod of notation is found in Example 46, where the 1-2-3valve combination i s accompanied by a 3/4 sharp sign,as s t ipula ted in the performance notes. 32 This clear lyident i f ies exactly where to place the pitch in question andallows the trumpet player to fai thful ly recreate thecomposer's intentions.

Example 46. Betsy Jolas , Episode Troisieme, p.2.

1 l ' . . . - - - - . . . . ~~ = : 6 ~ t .> > > ppp-=:::::=- -====p == . f ===-- p ==-- poco molto

When al ternate f ingerings are used in conjunctionwith valve sl ide motion to produce microtones, i t i s obvioustha t the diff icul ty of exact pitch placement wil l increase.

32Betsy Jolas, Episode Troisieme (paris: Huegel &Co., Editions Alphonse Leduc, 1982), p. 1.


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The problems can be compounded further through extendedpassages of microtones, as i l lus t ra ted in the followingexample taken from the opening measures of KDll.

Example 47. Robert Erickson, ~ , p. l .KRYL Robert Erickson (1977)

The microtones in the above example are the notes towhich the composer has added vert ica l arrows to indicate thedirection of pitch deviation from the s tandard tun ing system.I t i s important to note that the degree of deviation (thesize of the micro- in te rvals) is not specif ica l ly designated.The arrows merely indicate that the amount of deviation i sless than a half step, so the label Mmicrotones i s preferred


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rather than quarter tones. The boxed -3- followed b ahorizontal arrow requires the trumpet player to extend (orretract) the third valve sl ide (note that these areindications of posit ion and not of movement).33 Themicrotones found in ~ usually appear in str ings of notes,in a scalar context, and are usually heard as embellishmentsof a scale structure that i s more basic. The microtones arehardly ever found a t beginnings or ends of phrases, are fastnotes, and are almost always slurred. 34 -The fact that thesize of the intervals is inconsistent , yet do not sounddi f f icu l t to produce, explains why these passages soundidiomatic--a t r ibute to Erickson's compositional ski l ls ._ 35

Another fair ly common composit ional device ut i l iz ingmicrotones in the trumpet 's repertoire i s the quarter tonet r i l l . In Example 48, the notated t r i l l on g" i s easy toperform, in part, due to the indicated al ternate fingering.

Example 48. Wayne Gorder, 1 Point 2, p.2.J:; ('t '( 'Itt ~ (0- 2----

p ~ -33Edwin Harkins, -Aspects of ~ - a TrumpetPiece- ,International Trumpet Guild Journal, (Oct., 1980),p.23.3 4 T ' h ~ 1"1. , 24p. .35.I.1:Wi.


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46

A s imilar quarter tone t r i l l , i l lust ra ted in Example 49, i sproblematic due to the composer's omission of a preferredfingering.


('/'1 to"'t. " ~ , \ l )- t ~ ~o E 6__ \

In the above example, the perfo rmer has a choice between"lipping" the t r i l l or employing the al ternate fingering. Thetwo techniques are quite dissimilar in sound, as well as inexecution (the fingered t r i l l i s much easier) . To avoid th isambiguity, the composer should have indicated which techniqueto use in order to perform the t r i l l .

The production of microtones by - l ipping- is verydi f f icu l t to perform consistently. Most composers real izeth is problem and include specialized notation as well asdetai led performance notes exp la in ing the reading and playingof the passages in question. A commonly used notat ionaldevice is the al tered accidental, such as the 3/4 sharp signin Example 46. In Example 50, a variat ion of th is applicableto a -l ipped- microtone i s i l lust ra ted by the opening note of


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Tichel l i ' s The Firs t voice, an f ' 3/4 sharp to be performedby - l ipping an open g' down a quarter tone-. 36

Example 50. The Firs t voice, p. 1.

Accidentals are also altered by the addition ofver t ica l arrows indicating the direction of microtonalvariat ion. In Example 51, the arrows indicate that the notesshould be read and performed as f" 1/4 sharp and g" 1/4sharp. 37 I t should be noted that the performance notes donot include specif ications as to the method of producingthese microtonesi however, contextual clues from the piecestrongly suggest that they should be - l ipped.-

Example 51. Samuel Pellman, Trump-it, p.7. 0

36Frank Tichel l i , The Firs t voice, p. i i .37Samuel Pellman, Trump-it, p. 2.


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48

Another example using al tered accidentals i s found inGeorges Couroupos' Hippos, where the quarter tones arearrived at by -lipped- glissandi from the nearest upperneighboring tone. The note i s obtained by finge ring th ef i r s t note and -l ipping- downward without changing valves forthe second. 38

Example 52. Couroupos, Hippos, p.1.

ms-m jI=====-Examples 50 ,51 and 52 a l l demonstrate -l ipped-

microtones that are approached from the nearest neighbor,ei ther normally or by glissandi , allowing the performer someleeway in intonation as the correct pitch i s reached. Theseare by far the easies t type of -lipped- microtones toperform, in contrast to that found in the following example.The markings above the g' s t ipula te a g' 1/4 sharp, which i sto be - l ipped.-

38Georges Couroupos, Hippos, (Paris: Editions RideauRouge, 1973), p. i .


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49

Example 53. David Ernst, ~ , p.2.3:15

I

The dif f icu l ty of accurately p inpo in ting t he g ' 1/4 sharpwhen approached from a ninth above i s acute, requiring a gooddeal of experimentation during prac tic e to p erfe ct. Thisdemonstrates once again that producing microtones bMlipping i s very di f f icu l t to perform consis tent ly, the mostconsis tent way being through the use of al ternate f ingeringswith or without th e extension of the f i r s t and/or th i rd valves l ides . This performance technique depends on the trumpetplayer ' s knowledge of the resul tant microtones of a l l thepossible normal and al ternate valve combinations. 39 Whileth is technique makes for bet te r performance, i t also demandsan extraordinary awareness from the trumpet player, as wellas large blocks of preparation time. The chart found on thefollowing page i l lus t ra tes the microtonal placement of a l lpossible trumpet fingerings and is included to a id theperformer in the consis tent production of microtones.

39zack D. Browning, MTrumpet Techniques in thePerformance of Mic ro tone s, p . 7.


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50

Chart 3. Zack D. Browning, -Trumpet Techniques in thePerformance of Microtones, International TrumpetGuild Newsletter, pp. 7-8.

Microtonal Placement of Possible Trumpet Fingerings

-..I -..! IJv


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51

G. Extension of Tradit ional Effec ts

A var iety of t radi t ional trumpet techniques have beenextended by composers to achieve novel musical effects . Manytimes these extensions cal l for the combination of two ormore somewhat standard techniques, such as f lutter tonguingwith breath accents:

Example 54. Basil Chapman, Impressions for Trumpet and Tape,p . 3.

Or a Mtongued tremolo w (produced by soft , r ap id repeatedtonguing of the indicated pitch):

Example 55. Whittenberg, Polyphony for C Trumpet, p . l


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These are very simple combinations of techniques and areeasi ly produced. More dif f icu l t is the next example, whichca l l s for the trumpet player to play the indicated pitcheswith no valve change, requiring the player to - l i p the givenpitches using a non-corresponding valve combination. InExample 56, the second valve i s used to produce a l l of thepitches in the passage. This resul ts in microtone-likeglissandi between the pitches and i s very di ff icu l t toperform consistent ly .

Example 56. Wayne Gorder, 1 Point 2, p.2.

Pedal tone production i s another t radi t ionaltechnique which a l l trumpet players should be famil iar with.The following i s an example of normal pedal tones, notated inthe bass clef .

Example 57. Gorder, 1 Point 2, p. l .

o

~ .(\ff \1 ~ = \ ~ ~ ~ = t - _ ~ 0


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Less normal i s this example of a pedal tone played with thesecond and third valves half depressed:

Example 58. Knd., p.8.

" I I ,. . ; . ; ~- ' - ! . - . / ~ ~f '. . /fFc::::::::.Obviously, i t wil l be very dif f icu l t for a l i s tener todist inguish the pitch of th is note, but in context i tfunctions as a musical comma, and works quite well . Anextension of this idea is i l lus t ra ted in Example 59, whichcal ls for the performance of pedal tones with indef ini tepi tches (as indicated by the x noteheads), producing analmost percussive effect .

Example 59. 1 Point 2, p. l .

53


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Another type of quasi-percussive effect cal ls forextremely rapid, unmeasured double or t r ip le tonguing:

Example 60. Three Pictures of Satan, p.10.

- ~l ~ " f 1I7J ~ ~ .In the preceding example, the rapidly repeated notes (whichfunction as a recurring motif throughout the piece) occur onspecif ic pitches and the effect iveness of the passage i sdetermined (or limited) by the trumpet player ' s tonguingtechnique.

Another technique that re l ies on the trumpet player ' sinnate abi l i t i es cal ls for pitches to be played Mas high aspossible . M In the following two examples, an upward arrow i sthe notat ional device used. Example 61 includes the exactfingerings of the pitches in question; Example 62 does not,and leaves the matter up to the performer.

Example 61. Smith, . . . to seek the center of quiet , p.3.


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Example 62. Kraft, Encounters I I I , p. 12.

-.

Str ic t coordination of complex rhythmic events areextremely di f f icu l t extended techniques that require a greatamount of rehearsal time. In Example 63, the coordinationbetween the trumpet and the bongos is notated in the solopart and i s very di f f icu l t to achieve, especial ly at thegiven tempo. I f mastered, however, i t is very effect ive .

Example 63. Edgar Cosma, Concerto, p.4.


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All of the techniques in this section can readily belearned and performed by the trumpet player through thesimple combination of familiar" ski l l s . The f inal techniquein th is section, improvisation, does not fa l l into the abovecategory; in fact , the extension of -ad l ib- and improvisedparts i s perhaps the area of leas t famil iari ty for mosttrumpet players. Not a l l of these examples are dif f icul t :

Example 64. Cosma, Concerto, p.3.

Example 64 i l lus t ra tes a notated -ad l ib- on arepeated pitch with diminishing dynamic and speed values.This is an effect ive way to notate this simple technique fortrumpet while s t i l l allowing the performer some freedom withthe passage. I t certainly i s not dif f icul t to decipher thecomposer's intentions for performance. Example 65 i ssimilarly easy to in terpre t :


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57

Example 65. Kraft, Encounters III, p. 9.

pCombination o f rapid f ree fragments an d f ingered trelDo1o.1- 1-3

staccato e trem. 2 ~ 3

fI. Stacc. -trelD. =2 . On BbTrumpet:

'" . . . .. pfrapid random stacc. Crota1e'"

- f I - . - ~ 0 : : ~ " . .. -. t!J

I.2.

The top s ta ff ca lls for the trumpet to produce acombination of rapid staccato free fragments and a fingeredtremolo (with attendant fingerings), while accompanied bcymbals similar ly improvising on the lower s taf f . Musically,i t leads very well to the following measure and should beprepared with that in mind. A longer and freer improvisatorypassage is found in Example 66, taken from the same piece,ut i l iz ing a unique notation. Each -? - symbolizes animprovised passage to be taken from -previous or orig inalmaterial . w40 The four passages are accompanied b drum kickson the lower s ta f f , which should be f i t into th e context ofthe trumpet player 's improvised solo.

40Wl l iam Kraft, Encounters III (Los Angeles: AvantMusic, 1973) p.12.


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Example 66. Encounters III, p.12.

j=====--

In

letrudo on t rpt . ~ Clo d rollr--

-Control led- improvisat ion i s taken to an extreme inWilliam Hellerman's Passages 13--The Fire for trumpet andtape. Example 67, found on the following page, i s takendirec t ly from the score. The instructions are located insidethe circle , and the trumpet player improvises by choosing aboxed pattern to play in the spaces between the rec i tedpassages on the tape. The reader wil l note the many extendedtechniques included in the boxed passages.

This portion of Passages 13--The Fire wil l not rea l lysound improvised in the context of the res t of the piece,even though the trumpet player must make creative decisionsin performance. This i s an excellent example of jus t how far- t radi t ional- effects can be pushed w ithin the repertoire ofthe trumpet.


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~.....I-JI-J.....III:3:x:(1)I- JI-J(1)I i:3III=='

+ l!EX!I..

- - - - ~ . I/wI, "'_1 ",..".. __"'.----- 9

...., "" ...I. . ' .0 Cl.e II ' ol . ,e".. .a. "..." , , '" II ""'.IUS'" ,.

,, , ,. , , .UI "'If.'., ., llilK...1fIII "",'CAr, ,, , 'If' .."r,.,,. .,I.' ,cc"...rftlJ1 . . 'CA' .,c" .c.... CA" .ew .. , - ' . ,.. . ~ e . . " " "'IMCI",."'.

.. ..,.' I " a .L.... I . . . . . . ..... , I "" , ........ _, ... , .. , rl.

. . . . , I I I . NU , .... rru ....' - . c r lF'. _... ".

t + 0., .. , , , ., ", '0....wU1\ 0

..

~ , _ ,11"".,..,fy__. 2 - - - - - - - ~ _ ..........---3 ~ t ~ ,,,.,,"'," ..."".----4

lIEXIl._A

I"==--"

CUP HUfF OUT CUP

P---- P

l I ~ n : II'. WI'" .. It t ...

' M e l . '. n "'_ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ! ~ ~ ~ ! ~ ~ ~ ~,...,,. "It, I , a

p, .. , ,. , t NI. arc r,"" " ...:. ......;1 .__- ' . . . . . . . f I w" ,.." , " '" . p

. . . ., .,I " INC" .. ". . , . . . . . . .. , : . . : . . __ ' ! ! ! ! ! ! ! ! ! ! ! ! ~ ,.,qO 11 'e ' ' ' ~ I "ca "" '..."" ,. 'If' ,It., l,Jr,"~ ~ ! f j ~ ~ ~ ~ ~ . ~ . ~ . . ~ . ~ . . ~.... ~ . ~ . ~ . ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ I e . '''flU .,I.' ,. ... o U . - 1 d ~ ~ .. 'lfn. ,,,,,el. ,.,., ' l...........

1!i!I'''''- ....... ...",. _.... ~ . , . .......,rapeoJlI e. .l_'.- --.. --. ,m'...Nff9. " . f t........., .. , ~ ~

r a p ~ , I _ I - - - - - - .I. . -. . ,-- - - - 5------ HI IliI/lW ""_i f - 6 - - - - - - - - . ""i.-, "",.,.. " .'0",,,4 '''''--i~ ~r a ~ , - 7 - - - - -100 ,o. , ,,, ------- B-~ ~ ~ ~r. p ~ ~ t _.r_----,o----::...lh....,i.II.-----"------u..,._ .....",,,.--------12 - - - - - - - : ! i iC/hf- t. . . 1l.10


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I I I . NON-LIP PRODUCED SOUNDS

A. Airstream Effects

Many la te twentieth century composers haveexperimented with breath e ffe cts th at differ from those usedto produce normal tones. 41 Many examples of this techniqueabound in ensemble l i tera ture , as well as in the solo trumpetreper to i re . The most common effect consis ts s ol el y ofblowing a i r through the instrument. This i s coupled withdynamic variat ions in the following examples.Example 68. Basil Chapman, I m ~ r e s s i o n s for Solo t r u m ~ e t and~ , p . l .

Example 69. David Ernst, ~ , for trumpet and taperecorder, p.1.

41Gardner Read, C Q n t e m ~ o r a r y Instrumental Techniques(New York: Schirmer, 1976), p. 141.60


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61

The combination o f a i r st r e a m and f l u t t e r t o n g u i n gproduces a n o t h e r unique sound. This is most e a s i l y performedb y widening th e a pe rt u re o f t h e t rumpet embouchure andblowing a ir through th e instrument while f l u t t e r t o n g u i n g .Example 70 i l lus t ra tes th e use o f a s qu ar e n ot eh ea d t oi n d i c a t e th is t e c h n i q u e , while Example 71 shows a diamondshaped n o t e h e a d .

Example 70. T i c h e l l i , The F i r s t Voice, p . 7 .

Example 71. C ou ro up os , H ip po s, p . 1 .

~ ppp =p ftff=.mpj*=t. JE- ........ ;.> -


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A related technique i s found in Example 72, where at r i l l ' s tone i s transformed into a continuous a ir f lu t t e r tocomplete the -morendo passage:

Example 72. Encounters I I I , p.4.continue air f lutter~ J ! ~ B ~ g ~ " " " " " " - ~ ~ ~ = ~ D d O

A -hybrid airstream technique called a whist le toneis found in Space is a Diamond. This i s a thin whist leproduced by whistl ing the desired pitch through the tee thinto the trumpet without forming an embouchure and with onlythe s l ightes t pressure against the mouthpiece. The whist letones only occur softly on extreme high notes. 42


42Note that this excerpt is dif ferent f rom Example 25on page 21.


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Another -hybrid- airstream technique i s -the noise-found in Stockhausen's Einqang und Formel. I t i s notated ba - [ s ] - below the note, which instructs the trumpet player toblow the consonant -s- sound into the mouthpiece -withoutmaking the instrument speak.- 43 On the trumpet, strangelyenough, these noises sound a half step higher than the normalnotes. For th is reason, they have to be fingered a half stephigher. These fingerings are shown in a box above thenote. 44

Example 74. Stockhausen, Eingang und Formel, p.2.

These -hybrid- airstream techniques are bothre la t ively easy to perform and require l i t t l e time to learn(especially, in the case of the whistle tone, i f one alreadyknows how to whistle) .

43 stockhausen, Eingang und Formel, p. i i .4 4 ~ .


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B. Percussive Effects

There i s a vir tual ly unlimited number of possiblepercussive sounds that can be produced by s t r ik ing thetrumpet with various items in various ways . . Two of the mostcommon are found in the following example:

Example 75. Ernst, ~ , p. 1.

' : ISBP Tpl. IItrike beUwI _ . t ~ p i e c e

l ,eplace _uthpiece.: .pwi fi .. " :U,, .trike bell jWhile the above example may seem t r iv i a l and beyond the realmof ser ious music, other percussive techniques are found inthe repertoire that are much more musical. A simple example,taken from Hippos, is the valve cl ick, performed by s l ight lyloosening two valves and al ternat ing between them withoutblowing.

Example 76. Hippos, p. 1.


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An even more extended v e rs io n o f th is t e c h n i q u eo c c u r s i n ~ . The upper s ta f f i n c l u d e s s q u a r e noteheadsi n d i c a t i n g which p i t c h e s a r e to be fin g e re d, b ut n o t sounded,p r o d u c i n g a p e r c u s s i v e , rhythmic accompaniment f o r t h e lowers ta f f which i s bot h sung and played.

Example 77 . ~ , p . 3 .I

-- I l I I... I I .p -

0, >

-. ~(t1P+)

A commonly u se d e xt en de d p e rc u ss iv e t ec hn iq ue i s t h epalm t o n e . The palm tone is produced b y s t r i k i n g t h emouthpiece ( s t i l l a t t a c h e d to th e trumpet) w i t h t h e palm o fth e hand and f i n g e r i n g th e given p i t c h e s , r e s u l t i n g in auni que Mpopping* sound.


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Example 78. Gorder, 1 Point 2, p. 1.

The same effect is not only notated different ly inSpace i s a Diamond but is given the appel la tion percuss ivebubble as well.


I t i s extremely dif f icu l t to produce a specif ica l lyp i tched W palm tone as notated in the previous examples.Different valve combinations do affect the pi tch, but so doother factors tha t are much more dif f icu l t to control , suchas hand pressure, hand speed, and even the re la t ivef leshiness of the palm. Therefore, i t i s almost impossibleto reproduce these pitches consistent ly as palm tones. Forexample, the f ' sharp in Example 78 i s indist inguishable fromthe F sharp in Example 79. This problem can not rea l ly be


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completely remedied; therefore, i t is up to composers tonotate palm tones accordingly, w ith th is l imitat ion in mind.

The tongue can also be used to produce percussivesounds on the trumpet. A unique device employed byStockhausen is called the -tongue cl ick, - and i s produced byclicking into the mouthpiece with the sound emanating fromthe bel l of the instrument. In addition, the vowel coloringof the oral cavity for the click is indicated by the phoneticsymbol underneath. The resul t is a c lick tha t i s extremelyspecif ic . I t i s also interest ing to note that this cl ick i snot notated with a defini te pitch in mind but i s le f tindef in i te .

Example 80. Stockhausen, Eingang und Formel. p.2.

9U\CWmit clickfa)l


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The l as t technique to be discussed in th is sect ion isobviously related to the tongue click, the flap tongue. Theflap tongue technique is produced with a wide embouchure,sending a i r through the trumpet, and e i ther a) thrusting thetongue vigorously into the mouthpiece, creat ing a vacuumeffect ,45 or b) thrusting the tongue forward and upwardagainst the teeth and l ip , t he reby s topp ing the a i r andcreat ing a percussive sound. 46 The sound i s s imilar to tha tof the palm tone, except that i t is usually amplified due tosome sor t of a ir support exis t ing behind the tongue as i tattacks the notes. In each case the tongue at tacks more thanonce per note, creating a percussive stream. Example 81 i s ara ther simplist ic excerpt:


45Tichel l i , The Firs t Voice, p . i i .46Dlugoszewski, Space i s a Diamond, p. i i .


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Example 82 i l lus t ra tes a more involved rhythmic pat tern , thenotat ion of the flap tongue occurring with diamond shapednoteheads:

Example 82. Stockhausen, Eingang und Formel, p.2 .

5 (!QJJ2f ('"01\ hort .uhf' hoh.. Obutone. fLcpen), . -3-, , -3--,

[tA - - -Z u n 9 V \ . s t o ~ I ka.um Ton(lunge ge.gen vonieren &cwrr\e.n prult.n uncl.

i i u ~ e . r s t plo.siv [t] b1W. [d] knol1&n Wsen)

.-3-, , . . . . 1 ~ , . . . 3 ~

In Example 83, the flap tongue i s nota te d w ith squarenoteheads and includes rapid mute a l te rna t ion, making for amuch more di f f i cu l t passage to coordinate.

Example 83. Tichel l i , The Firs t Voice, p . l .


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As with th e palm t o n e , producing th e s p e c i f i c a l l yn o t a t e d p i t c h e s while f la p tonguing i s v e r y di f f icu l t . Flaptonguing i s made somewhat e a s i e r , however, due t o th e f a c tt h a t t h e t o ng ue 's p o s i t i o n i n t h e o r a l c a v i t y can h e l p t od e l i n e a t e t h e regis ter of th e d e s i r e d p i t c h e s . Bu t in th eend, to tal ly a c c u r a t e p i t c h p r o d u c t i o n can n ot rea l i s t ica l lyhappen. I t should be remembered t h a t palm t o n e s and f l a ptonguing a r e u l t i m a t e l y p e r c u ssi v e t e c h n i q u e s , and anyMpitched M sounds t h a t a re n o t a te d f o r th e performer a r eu n l i k e l y t o be understood t h a t way by an a u d i e n c e .


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C. Multiphonics

Of a l l the newer techniques available to windinstruments, none figure more prominently in the avant-gardethan multiphonics. The resul t of certain combinations ofembouchure, unusual fingerings and auxiliary keys,multiphonics create sounds that exterid from a simple intervalof two pitches to complex multi-voiced chords. 47 The conceptof multiphonics also includes sung, spoken, and/or hummedpitches (hereafter referred to as vocal multiphonics)superimposed on blown notes, thus creating a simple twovoiced polyphony with two dis t inc t timbres. 48 Because of thebasic construction and sound producing principles of thetrumpet, i t is unable to create the more complex sonori t iesof the former multiphonic technique (which is generallyre se rved fo r the woodwind instruments). Therefore, it is nosurprise that the la t ter technique o f voca l multiphon ics i sthe only one found in th is survey of solo trumpet l i te ra ture .

Vocal multiphonics always include two sets of notesto be performed--those with the trumpet and those w ith thevoice. On the following page, Example 84 i l lus t ra tes perhapsthe easiest form of notation for the trumpet player to read.

47Read, p. 150.48IQid., p.151.


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Example 84. Space is a Diamond, p . l l .

72

Example 85 i l lus t ra tes a l ine notation to in dicate thepi tches to be sustained, and moved through, with the voice.

Example 85. Pellman, Trump-it, p.4.

- --- --- )

Hummed multiphonics are produced sim ilarly to sungones, and are perhaps easier to perform due to the i rvibrational Mfeel- to the trumpet player. Example 86demonstrates a simple two note chord, with the trumpetsustaining a g' while the e ' a thi rd lower is hummed:


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Example 86. David Ernst, ~ , p . l .

-z: -im f = = = = = = - - - p - - = = = = = mp%::!oI

Example 87 i s a l i t t l e more d if fi cu lt , i ll us tr at in g a hummedchromatic embellishment (nota ted with diamond shapednoteheads) added to the trumpet 's pianissimo sustained a 'f la t :

Example 87. Gorder, 1 Point 2, p.2.

Composers sometimes combine multiphonics with othertechniques. This signif icantly increases the complexity ofthe work and the diff icul ty of the performance. Examples 88and 89 on the following page i l lus t ra te th is point qui tewell .


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Example 88. E r n s t , ~ , p . 2 .

~ ~ ~ ~ ~ ~ ~ / ~ . flutter : ~ = ~ ' - ~ ~ ~r----=====mf --------


cf'es0 - - - - -_.+-f i r " . t - - - - - - - - - - - - - - - - - r - - - - ~ 1 3 ; J L } - - -

Both o f t he se te ch niq ue s, t h e a d d i t i o n o ff l u t t e r t o n g u i n g t o th e hummed multiphonic i n Example 88, a sw e ll a s t h e a dd iti o n o f th e Harmon mute - o p e n - c l o s e d - o p e nwt e c h n i q u e found i n Example 89, w i l l a f f e c t th e way th etrumpet p l a y e r h e a r s h is own humming. The a l t e r e d trumpett i m b r e wil l make th e hummed p i t c h e s much more di ff icu l t t operform.

74


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75

The aural demand on the trumpet player i s acute whenattempting to sing (or hum) and play a t the same time, and isperhaps the most dif f icu l t technique surveyed in these pages.Much pract ice time is required to perfect the technique ofsinging a t a different p itch lev el from the trumpet. Whenlearning th i s technique, the player should f i r s t attempt tosing a t the ~ pitch level as the trumpet on long tones,experimenting with the effects various vocal dynamic levelshave on th e trumpet's tone. A steady tone i s the goal, eventhough the tone quali ty wil l undoubtedly suffer a t f i r s t .Once the abil i ty to sing and play in unison is achieved, theplayer should attempt to sing scalar and arpeggiated l inesderived from the fundamental long tone. Example 90i l lus t ra tes th i s .

r1i"1 (.') / . ' 1:\v -e- -eo- ~ -9-- I I 0.--. / . \ I t ' ( + , ..,L , ... , -e- ..,. r -+ -B-

Example 90. Multiphonic Exercises 49 (top l ine trumpet,bottom l ine voice) ....

;'11\ (. \.., -e-. C1 .., ~':"'\ I I

-;.. , r , --6>-49composed by th e au th or.


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These exercises make i t easier for the performer tohear and produce vocal pitches that are not in unison withthe trumpet. When they are mastered, i t becomes possible forthe player to prepare almost any manner of vocal mult iphonicin the l i terature .

There i s one further problem with the notation ofvocal multiphonics. To be rea l i s t ic , two vocal pi tches oughtto be indicated, one for a high (female) voice and one a t thelower octave for a low (male) voice. 50

So far in th is survey, a l l of the multiphonictechniques have involved the voice and the normal trumpettone together. I n ~ , six different types of vocaltechniques are introduced. The following chart summarizesth e vario us uses of the voice in this piece, in regard tonotation, range, subjective indication of voice quali ty,direct ion of ai r , and voice/instrument interface. In thesetechniques, the l ips are on the mouthpiece, but whether thecorners are open, allowing normal vocal sounds due to thetrumpe t bypass, or closed, producing f i l tered vocal sounds,depends on the t echnique used. 51 I t should be noted that nota l l of these techniques produce multiphonics.

50Read, p.152.51Hark ins, MAspects of ~ . , p.


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"Technique" Vocal Range Vocal Air Voice/TrumpetLabel Notation Quality Direction Interfacevoice alone J J open exhale throughf' - g" trumpet

voice/trumpet J J f' - g" open exhale by-passalternating trumpetvoice/trumpet J J tense exhale throughf' - g" trumpetsimultaneously

glottal fry, J J as lowingressive as open to inhale through topossible tense .bypassSCR by-passscream r high tense exhale trumpet

loud breath ~ open inhale by-pass--- trumpet

It)II(/)'0roon-ti loHI

'0.


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The techniques that concern us the most, of course,are those producing multiphonics. One type of multiphoniccombines the voice, through the trumpet, with a steadysixteenth note pulse maintained by valve noise as the writ tennotes are fingered. In the following example, the notes withsquare heads are to be fingered only; the notes with the .x.heads are to be sung; and the no rm al n ote i s to be playednormally. Note that the normal and x notes are notperformed concurrently.

Example 91. ~ , p.3.

-:....... - rg - t t - ' t J 3 - ! " ' ~ _ o ; l ' " ' l .0 0, >

. . -( ~ +


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The same notational system i s used in Example 92;however, this time a l l three techniques are occurringsimultaneously.

Example 92. ~ , p.7 ...2_3 23 ~ 3 .23.2.3 -!.3..2.3 .l.3 ~ 3 ::l3.l3

r'K.TIT

..

,f-t t ,. 'J ~ - . t r-I . ..... +-:..n -'0 I'--

Needless to say, much t ime i s needed to prepare apiece l ike ~ , or for that matter, any piece that includesmultiphonics. Some may argue that the musical effects foundin these pieces are not worth the time i t takes to preparethem. I argue that the musical effects of these multiphonicsare di f f icu l t to judge due to the variat ions that undoubtedlywil l occur from performer to performer. In general, thetechnique introduces a polyphonic texture in a s t r ik ing way,and can not be ignored by an audience. When viewed andperformed in this way, these techniques are musically veryeffect ive.


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D. Dramatic Effects

For thoroughness, this survey would not be completewithout discussing the dramatic effects included in some ofthese works. A subtle type of drama unfolds i n ~ , due tothe compose r's use of th e vo ice. The p ie ce in clude s a quickal ternat ion between normally played notes and screams, loudbreaths, sung notes, and Mglottal fries w52 (see Chart 4). Asthe piece p rogress es, th ese techniques help prop el thel i s tener toward the logical ending of the piece. Less subtleare the instruct ions for Three Pictures of Satan for trumpetand organ by Jere Hutcheson. The trumpet player i s requestedto don a long black cape for the performance. I f the playerswish to increase the melodramatic nature of the work, bothplayers may wear black hoods. Also, several toy trumpets arerequired for a humorous toy horn duet in the middle of thesecond movement, enti t led MSatan's Holiday.w This comicaleffec t is not subtle and would not be missed by the audience.

Much more involved than Three Pictures of Satan i sSamuel Pellman's Trump-it. Accessories cal led for in theperformance notes are: a derby, Solo tone mute, Harmon mute,Tom Crown metal straight mute, plunger, medium-sized metalwastebasket f i l led with two inches of warm water, 5-10 poundsof dry ice, a beat up armchair, two end tables , one ta t tered

52Harkins, MAspects of ~ w , p.26.


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throw rug, one f loor lamp, and one rubber chicken. Thestaging of th is piece i s given as a f loor plan and i sreproduced below.

Example 93. Trump-it, p.2.

end table

easy chair

1 1~ t . ; { f ~ ".... end table

f l oor lamp

AUDIENCE

The performer begins by adding some dry ice to thewater in the wastebaske t, th en plays the MIntrada.Throughout the piece, the trumpet player i s to continueadding dry ice as needed. In the f inal S ch erzo , th eperformer i s instructed to bend down with the bel l in thewas tebasket, then s i t up, assume a puzzled look, pull therubber chicken out of the wastebasket, and then throw i toffstage.


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Although this may sound l ike a humorous event, thecomposer includes this precautionary advice in h isperformance notes for the Scherzo:

In some places in th is country a few people in theaudience may think th is movement is funny. These are thesame people who would belch loudly at the dinner tableand then point to the person si t t ing next to them. Thismovement i s not at a l l funny and the performer shouldtake care lest he give the audience any part icularimpression that i t is . 53

Despite this precaut ionary note , I find i t dif f icul tto envision a performance of the Scherzo movement of thiswork that would be devoid of humor. After al l , a rubberchicken is s t i l l a rubber chicken.

53samuel Pellman, Trump-it (New York: EditionDelusive Phantom, 1982), p.8.


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IV. CONCLUSIONS

I t is interest ing to observe that d espite theInternational Conference on New Music Notation in 1974, a twhich an attempt was made to s tandard iz e the notation ofextended techniques, numerous dif ferent methods of notations t i l l persis t and vary from composer to composer. Flaptonguing, palm tones, mute changes and a lte rn atio ns , h alfvalving, and even pedal tones are a l l notated in a myriad ofnon-standardized ways. I t certainly would be eas ier for thetrumpet player i f a l l notation of extended techniques werestandardized, but that seems to be a highly unlikelyposs ib i l i ty .

Of the pieces surveyed in this project , those thatincluded copious performance note s (expla in ing not only thenotational symbols but the production of the techniques theyrepresent) made the music much easier to understand anddecipher. The compositions of Robert Erickson, GerhardMuller-Hornbach, and Karlheinz Stockhausen are excellentexamples that provide these detai led types of performancenotes and should serve as models for future composers ofextended trumpet techniques. In contrast , those pieces thatdid not include enough instructions about these techniquesl e f t questions as to their composers' intentions, almost

83


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always because of the ambiguities aris ing from decipheringand interpret ing non-standard notat ion. In th is l a t t e r case,i t becomes the trumpet player 'S task to decipher thecomposer's intent for every notated extended technique in apiece. Obviously, th is leaves the piece open to a widevariety of possible interpretat ions and is not conducive touniform performances from one solois t to another. Therefore,the choice of notation and i t s lucid and detai led explanationshould be primary considerations for a composer of a pieceincluding extended techniques.

Once these extended techniques are ident i f ied, theobvious questions as to t h ei r p r ac ti ca li ty must be raised.Interest ingly enough, almost a l l of the extended techniquessurveyed in these pages are quite pract ica l (even the mostdi f f icu l t multiphonics), given the proper amount of practicetime by the trumpet player. They are a l l quite possible toreproduce i f the t echn iques occur in isola t ion. This i st ruly the crux of the matter. When two or more of thesetechniques are combined in a single passage, the level ofcomplexity r ises exponentially, and the pract ica l i ty isdiminished as well. A passage such as tha t found in Example94 (on the following page) includes at leas t four extendedtechniques, and may require hours to perfec t ( ifperfect ible M a t a l l ) .


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Regarding musicali ty, almost a l l of the techniquessurveyed in these pages may be considered musical in thecontext of the pieces from which they come. Withoutexception, any extended technique that may be regarded asunmusical is composed with tha t purpose in mind (see Example23 on page 20, for instance). I t is up to the trumpet playerto understand the musical application of a l l of theseextended techniques and re la te them to the audience inperformance. Cer ta in ly , i nd iv idua l l is teners in an audiencemay prefer more t radi t ional sounds in the i r concertexperience. Nevertheless, the employment of extendedtechniques ~ provide the l i s tener with a musicalexperience that can be interpreted and enjoyed, i f thel i s tener chooses to accept the composer's and performer'smedium.


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Obviously, t h e n , tru mp e t p l a y e r s must l e a r nc om pe te nc y a nd fluency w i t h t h e s e ext ended t e c h n i q u e s t ot ransla te th e composer's i n t e n t i o n s i n t o m ea ni ng fu l m us ic .T h i s r e q u i r e s a determined i nvest ment o f time and ef for t b u ti s a l t o g e t h e r n e c e s s a r y t o in s u r e a q u a l i t y ' performance.Hopeful l y, th is survey w i l l l e a d t o a g r e a t e r u n d e r s t a n d i n go f t h e s e ext ended trumpet t e c h n i q u e s and h e l p t rumpet p l a y e r sto i n c r e a s e the i r ski l l s i n p r e p a r i n g and performi ng them.The more adept th e p la y e r , th e bet ter th e performance.


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V. BIBLIOGRAPHYA. BOOKS AND PERIODICALSBoretz, Benjamin and E.T. Cone, eds. Perspectives on Notationand Performance, 1st ed. New York: Norton, 1976.Brindle, Reginald Smith. The New Music. London: OxfordUniversity Press, 1975.Browning, Zack D. Trumpet Techniques in the Performance ofMicrotones Internat ional Trumpet Guild Newsletter Vol.5 no. 2 1979, p. 6-9.Cansler, Philip Trent.An Analytical Listing of Published

Music of the 20th Century for Solo Trumpet and Organ.University of Oregon, 1984.Cope, David. New Directions in Music. Dubuque: Kendall Hall,1976.Cope, David. New Music Notation. Dubuque: Kendall Hall,1976.Harkins, Edwin. Aspects of Kryl--a Trumpet PieceInternat ional Trumpet Gui ld JQurnal OctQber, 1980, 2226.Hever, M.R. -Helping Students CQpe with 20th Century TrumpetMusic WQQdwind WQrld Brass and PercussiQn VQ1. 16 nQ. 31977, 32-33.InternatiQnal CQnference Qn New Musical NQtatiQn RepQrt.State University Qf Ghent. Amsterdam: Swets andzei t l inger B.V., 1974.KarQschka, Erland. NQtatiQn in New Music, t rans. by RuthKQenig. New YQrk: Prager, 1972.Logan, Jack. -New Trumpet Techniques in Kenneth Gaburo's'MQuthpiece' Winds Ouarterly Vol. 1, 1981, 2-14.Read, Gardner. CQntempQrary Instrumental Techniques. NewYQrk: Schirmer, 1976.

87


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Read, Gardner. Modern Rhythmic Notation. Bloomington: IndianaUnivers ity Press , 1978.Risat t i , Howard. New Music vocabulary. Urbana: University of

I l l ino is Press, 1975.Sti th , Maurice. New Ideas for Composers of Trumpet MusicComposer Vol. 6 1975, 12-13.Stone, Kurt. Music Notation in the 20th Century , 1st ed. NewYork: Norton, 1980.Tarr, Edward H. The Trumpet, t rans. from the German by S.E.Plank. Portland, Oregon: Amadeus Press, 1988.Tuazzo lo, Pau l. Trumpet Techniques in the Works of

Contemporary American Composers Doctoral Dissertat ion.University of Miami, 1972.Watkins, Glenn. Soundings. New York: Schirmer, 1988.


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B. MUSICAL SOURCESBanzola, Enrico. Themes: Studies for Trumpet Alone. Parma:ABC Edit ions, 1979.Chapman, Basil . ImpressiQns fQr SQIQ Trumpet and Tape.Pasquina Publishing, 1978.CQntempQrary Trumpet Studies by A. Blat ter and Paul Zonn,annQtated and edited by David Hickman. Denver: TrQmbaPublicat ions, 1976.CQsma, Edgar . CQncerto . Paris, Gerard Billaudot, 1987.CQurQuPQs, Georges. HippQs. Paris: EditiQns Rideau RQuge,1973.Diemente, Edward. SQmething Else. New YQrk: Seesaw MusicCQrp., 1970.Drnitriev, G. CQncertinQ. MQSCQw: Univer si ty Press , 1983.DlugQszewski, Lucia. Space i s a DiamQnd. Massachusetts:Margun Music Inc. , 1970.EricksQn, RQbert. ~ . San Diego: EricksQn Music, 1980.Ernst , David. ~ . Pennsylvania: Shawnee Press, Inc . , 1973.GQrder, Wayne. 1 PQint 2 fQr SQIQ B Flat Trumpet. Denver:Trornba PublicatiQns, 1976.Hellerman, Will iam. Passages 13--The Fire. Pennsylvania:MeriQn Music, 1972.Hutcheson, Jere. Three Pictures Qf Satan. New York: SeesawMusic CQrp., 1973.JQlas, Betsy. EpisQde TrQisieme. Paris: Huegel and Co.,Edit ions Alphonse Leduc, 1982.Kraft , William. EncQunters I I I . LQS Angeles: Avant Music,1973.Muller-HQrnbach, Gerhard. ZyklQs. Wiesbaden: BreitkQpf andHartel , 1986.Nikiprowetzky, Tolia. Concerto. Paris: Gerard BillaudQt,1987.


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Pellman, Samuel. Trump-it. New York: Edition DelusivePhantom, 1982.Smith, Glenn . . . . to seek the center of quiet . New York:Seesaw Music Corp., 1975.Stockhausen, Karlheinz. Aries. Kurten, Germany: StockhausenVerlag, 1981.Stockhausen, Karlheinz. Eingang und Formel. Kurten, Germany:Stockhausen Verlag, 1978.Szollosy, Andras. Suoni di Tromba. Budapest: Editio Musica,1984.Tichel l i , Frank. The Firs t Voice. Cheltenham, Maryland: PPMusic, 1987.Wastall , Peter. Contemporary Music for Trumpet. London:Boosey and Hawkes, 1984.Weber, Alain. Alpha V. Paris: Editiones MusicalesTransatlantiques, 1981.Whittenberg, Charles. Polyphony for Solo C Trumpet. USA:Josef Marx, 1970.


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C. SELECTED DISCOGRAPHYThe following recordings are l is ted here aspoten t ia l sources of research (and enjoyment) for

performers interested in contemporary music in thetrumpet 's reper toi re .COMPACT DISCS

Anthony Plog, trumpet. Hindemuth: Sonata ; Halsey Stevens:Sonata; F isher Tull: Pro fi le s; Pe tr as si: Fanfare;Campo: Two Studies; Plog: Animal Ditt ies2; Erickson,~ . Crystal Records, CD663.Thomas Stevens, trumpet. Dav ies: Sona ta; Antheil : Sonata;Henze: Sonatina; Thomas Stevens: Triangles, VariationsQn a CliffQrd Interval , A New Carnival of Venice;TQmasi: Triptyque; Ibert : Impromptu; Dodge:Extensions; Kupferman: Three Ideas. Crystal Records,CD665.Thomas Stevens , trumpe t. Reynolds: Signals; Kraft:Encounters I I I ; Chou wen-chung: Soliloquy Qf aBhiksuni; Henderson: Variation Movements; Revueltas:Two Lit t le SeriQus pieces; Campo: Times; Kupferman:The Fires of Prometheus. Crystal Records, CD667.

RECORDS (LP'S)

Michael Chunn, trumpet. Bozza: Rustiques; Jean Maire: ~e t Frelon; Bitsch: Ouatre Variations; Casterede:SQnatine; Maury: Premier solo de Concours; Hartman:Faci l i t a . Crystal RecQrds, S662.Ned Gardner, trumpet. Jol ivet : Air de Bravoure; EnescQ:

Legend; Semier Collery: EVQcation et Scerzetto;Sulpizi : Suite TrovadQrica; Chardon: Sonata. CrystalRecords, S369.Mario Guarneri, trumpet. Hindemith: CQncerto for trumpetand Bassoon; wolpe: Piece for Trumpet and SevenInstruments. Crystal Records, S352.


95/100

92

David Hickman, trumpet. Kent Kennan: Sonata; Mendez:Scherzo; Dello Joio: Sonata; Turr in : Cap rice . CrystalRecords, S368.Anthony Plog, trumpet. Verne Reynolds: Music for FiyeT

extended trumpet performance techniques

Documents