The Natural Trumpet and other related instruments by John Foster Kookabi MusicNatural Harmonic Series Fingering Systems The four-holed fingering system and fingering notation was developed by English baroque trumpet virtuoso Michael Laird in the 1960s. It is now commonly used by many trumpet makers and trumpet players worldwide. This fingering system not only allows for the correction in pitch to the 11® and 13 harmonics, but also gives the player considerable security when performing the many accidentals which appear often in the repertoire of Johann Sebastian Bach and other such composers. The invention of the three-holed fingering system is credited to Otto Steinkopf, who with the assistance of German trumpet maker Helmut Finke, first placed three holes ona small coiled trumpet in the late 1950s. C= All holes closed 2= Index finger hole open 3 = Middle finger hole open 5 = Little finger hole open T= Thumb hole open 15Four-Holed Trumpet Fingerings c c c c T c 3 os Three-Holed Trumpet Fingerings c c c c L Cor2 Lor Tis**_ C5 = 5 r 2 os Trae 2orT2** Cis Tor T2* o 5 +L- bending the pitch with the lips + / - denotes opening two holes at once 16Principale Register I would suggest firstly playing these excersises without the use of vent holes. ‘Once proficiency of these exercises has been achieved using the natural instrument, introduce the use of the holes, paying attention to the consistency of sound quality and intonation. Ww18Opening excerpt from "To Arms, Heroic Prince" from The Libertine (c.1692) by Henry Purcell Principale excerpt based on Sinfonia from BWV 249 by J. S. Bach ‘Tromba III in D. Exercise based on study by Dauverne (1857) 19Exercise based upon study by Dauverne (1857) 3 3 3 = 3 3 s No.10 Aria from J. S. Bach's Cantata BWV 70 Presto 20Studies on the Harmonic Series These studies are best practised slowly at first and then repeated, gradually increasing the tempo. I recommend practising the exercises slurred as well as tongued. Players may also benefit from playing this study using variations in dynamics and articulations.Flow Studies These exercises should be played with particular attention to sound quality, evenness of rhythm and with a very smooth lyrical approach. I reccommend first playing the exercise slurred and then repeating each system tongued. First using a soft "doo" articulation and then once again practising the study with a staccato "tu’ articulation. Always try and replicate the smooth relaxed lyrical sensation of slurring when tonguing the exercise with shorter notes. Remember to take the appropriate amount of rest between exercises.Tonguing Studies 1 *Suggested articulations: d = soft tongued syllable "du" or "doo" t = harder tongued syllable "tu" or "too" ‘These exercises should be played with a light approach remembering always to use the same amount of effort in tonguing as was applied in slurring. The notes should remain tenuto in length and be performed as smoothly as possible. It is interesting to note that it was unlikely that historically baroque performers would have used entirely equal rhythm or attacks for such figures during, this period, thus it is important to practise these passages with attention to broader articulations on the strong pulses.petaeseteseteseten »). ettesteerte boTonguing Studies 1A Be sure and pay particular attention to first and third beats (strong pulses) in each bar. ‘Semiquavers should be played long and as smoothly as possible in a lyrical fashion. t a ** Continue study in all pitchesTonguing Studies 2 in various keys ‘These scalic passages should be performed using light, long notes with maximum attention paid to musical direction and a smooth flowing sound throughout. | liken the musical style required for passages such as these to that which can be achieved on the baroque oboe, recorder or violin.Tonguing Studies 3 otegerte. etenett tone, beeteete®Tonguing Studies 4Arpeggio Studies 3031Excerpt from Jauchzet Gott in allen Landen BWV 51 ‘Tromba in C Studies based on Jauchzet Gott from BWV 51Dotted Rhythm Studies 3,Excerpt from the third movement of Antonio Vivaldi's Concerto in C major for Two Trumpets t ie 2: +Trills In my experience trilling is an aspect of baroque trumpet performance which requires constant maintenance and thoughtful, vigilant practice by the performer to achieve a desirable standard of performance. The basic principle by which I approach trills and all ornaments for that matter, is that trills and ornaments are always intended to enhance or beautify the notes or musical framework provided by the composer. When trilling on the baroque/natural trumpet players should try to observe the following points: + Always maintain good air flow and support for the sound at all times. + Always nurture a beautiful sound quality when trilling, paying particular attention to the fundamental note of the tril. * Changing between notes of the trill should be done by the use of the tongue. By keeping the tongue relaxed and fluent and by pivoting it though the air stream an easy and consistent interchange of pitches can be achieved. This technique can easily be practised away from the instrument, by observing the tongue’s function and mechanics while “whistling” a tril. + Avoid the inordinate use of external facial movement (comers, cheeks, jaw, chin etc). Instead focus your attention on air flow and the internal action of the tongue. + Always have a strong rhythmic concept when approaching trills. Practise a variety of tempos in order to be prepared for any musical context. Practice with the use of a metronome is strongly advised. + Understand the repertoire you are playing in order to use the appropriate trill. Knowledge in this area is crucial to stylistic performance - for example, knowing whether in any given piece you should be starting trills from the upper note or starting on the main note. You also would not, for example, employ a trill appropriate for Handel's music in the repertoire of Fantini cr vice versa.Fantini Trills Girolamo Fantini (1600-1675) employs in his music a trill that requires the trumpet player to pulse sound rhythmically through the same note. This ornamental technique is often referred to as the "beating huff”. Articulation of this pulsation is achieved by the performer accenting rhythm through the note using the throat, chest and diaphragm. The aural result corresponds with the ornaments used by singers of the same period. Girolamo Fantini in his treatise (Method for learning to play the trumpet in a warlike way as well as musically...”) (1638) describes this trill in the following way: “...trillo is performed with the strength of the chest and articulated with the throat, and can be executed on all notes of said instrument.” A similar technique can also be found used in the performance of the music by J. S. Bach. We find this to be the case when we see the following figure on the same repeated note. Excerpt from J. S. Bach's Brandenburg Concerto No2 spe ee eee eee 36When playii g trills on vented trumpets performers can benefit from opening vent holes to assist with the pitch and ease of the trill or ornament. Here are some tips which have served me well, firstly when learning to trill and now when performing as a professional. It is most important to first practise all trills as if playing them on a natural trumpet using no holes. Then, in order from the bottom of the harmonic series, I can use the following fingering to assist with enhancing the trills. Once again I should also pay thanks to Michael Laird who showed me first-hand the many advantages of integrating his four-holed system into trilling on the baroque trumpet. Pitch of the trill Fingerings Trilling Low G to C All holes covered (below the stave) Trilling C to E All holes covered (E bottom of the Stave) Trilling E to G All holes covered Trilling G to BD All holes covered (it is possible to trill to an A rather than a Bb by using the thumb hole.) Trilling Bo to C All holes covered (C3* space of the stave) Trilling C to D All holes covered Trilling D to E All holes covered (for a slightly wider trill you can open the thumb hole slightly) Trilling E to F or F# All holes covered or with the 5% hole open (with all the holes closed it is possible to bend the pitch of the trill to play a sounding F rather than F#, Trilling with the 5% hole open tends to make the interval of the trill wider.) Trilling F to G Thumb hole open (Gon top of the stave) Trilling F# to G All holes covered or with the 24 hole open Trilling G to A All holes covered or the 5% hole open Trilling A to B 3 hole open Trilling B to C (above the stave) 2 hole open 7Continue exercise in all pitches Trill Studies 39Ornament Studies I recommend practising this study using no holes (for vented trumpets). Be sure and pay strict attention to the rhythm at all times. A smooth, fluid approach to the sound is preferable. You may like to pratise using variety in the tempo and the dynamics, and always remember to take the appropriate amount of rest throughout the study. 4