Natural trumpet

A natural trumpet is a valveless brass instrument that is able to play the notes of the harmonic series.

History

See: Clarion The natural trumpet was used as a military instrument to facilitate communication (e.g. break camp, retreat, etc.).

Even before the late Baroque period the natural trumpet had been accepted into Western art music. There is evidence, for example, of extensive use of trumpet ensembles in Venetian ceremonial music of the 16th century. Although neither Andrea nor Giovanni Gabrieli wrote music specifically for the trumpet, they would have been very familiar with its technical possibilities.

Later, talented players such as the early baroque composer Girolamo Fantini demonstrated that by playing in the extreme upper register and "lipping" the notes of the 11th and 13th harmonics (that is, flattening or sharpening those impure harmonics into tune with the embouchure), it was possible to play diatonic major and minor scales (hence, actual melodies rather than arpeggios) on a natural trumpet. The most talented players were even able to produce certain chromatic notes outside the harmonic series by this process (such as lipping a natural C down to B), although these notes were mostly used as brief passing tones. (In Germany, this technique was called Heruntertreiben, literally "driving down".) Other "impure" harmonics (such as the 7th and 14th – B♭ on an instrument pitched in C – which are very flat) were avoided by most composers, but were sometimes deliberately used, for example, where their unusual sonic qualities would complement the accompanying text in a sacred work.

Baroque composers – such as Antonio Vivaldi, Georg Philipp Telemann, George Frideric Handel and Johann Sebastian Bach – made frequent use of trumpets in sacred, orchestral, and even solo works. Many of these trumpet parts are technically quite difficult to play on a natural instrument, and were often written with a specific virtuoso performer in mind, such as Gottfried Reiche (Bach's chief trumpeter and the subject of a famous painting of the era) or Valentine Snow, for whom Handel composed some of his more noted trumpet parts. Indeed, highly skilled trumpeters were a prized commodity in the era, held in high esteem and avidly sought after by musical patrons.

Period instruments

Some of the finest surviving examples of pre-Baroque and Baroque era trumpets date back as far as the 1580s, and were made by Anton Schnitzer of Nuremberg. Other notable trumpet makers include the Hainlein family of Nuremberg, the Haas family of Nuremberg, the Ehe family of Nuremberg, and William Bull of London. All of these instrument makers built what are now called natural trumpets. During the period, however, these instruments were simply called trumpets, not "natural trumpets", as a valved instrument had yet to be developed.

Historical development of the instrument

The Natural trumpet was originally a holeless instrument. These instruments were first used in combat on horse back, so there really was no use for the vent holes. Composers in the 1600s then wrote music for the natural trumpet, often writing very high and fast trumpet parts. Musicians were asked to play these parts on holeless instruments, making the chromatic tones in the upper register sound very out of tune. The vent holes on the yard were introduced in 1950 to help with tuning tendencies and note accuracy. Modern day replicas have vent holes, but holeless yards are still available upon request as well. The valve, along with extra tubing, was introduced in 1818. The valve allowed for the trumpet to play chromatic notes, giving it the ability to play in different keys.

Modern replicas

In the second half of the 20th century as historically-informed performance came into fashion, modern instrument makers began building instruments based on historical instruments. Among the pioneers were Meinl & Lauber, Adolf Egger, Robert Barclay, Frank Tomes. Makers active as of 2021 include Matthew Parker, Graham Nicholson, Markus Raquet, Geert Jan van der Heide, Cristian Bosc, Rainer Egger, Bernhard (Ewald) Meinl, Tony Esparis, Nikolai Mänttäri, Nathaniel Wood, and Gunther Cogen.

Construction

The natural trumpet has a mouthpiece, which is inserted into the receiver. The receiver is attached to the long tubing, called the first yard, with a short connector, called a ferrule. The first yard is connected with a ferrule to the first bow, followed by another ferrule and the second yard. The second yard is attached with a ferrule to the second bow. On the baroque trumpet, the vent holes are located at the top of the second yard, and possibly on the second bow. After the second bow are the bellpipe, the ball, the bell, garland, and bezel. The bellpipe and first yard are separated by a wood block, and over that there is a cord for binding.

Teachings of the Natural Trumpet

The natural trumpet is rarely used in the United States, making it very difficult to find a teacher or University that offers lessons and beginning courses on how to learn the natural trumpet. The University of Kentucky offers a 15 credit hour program that provides one with the fundamentals of the natural trumpet, as well as the basic understanding of Baroque music. Juilliard also offers a historical performance graduate program that teaches one to play historical instruments. This graduate program allows one to play in historical ensembles, like operas and classical orchestras, all while being helped by Juilliard faculty. Europe still uses historical instruments frequently, making it more accessible to learn these instruments. The University of Music Würzburg offers a program to undergraduate and graduate students that refine one's skills on historical instruments. This course prepares one for real-life auditions and performances.