Thunderous Blast: A Trumpet Recital.
ABSTRACT
The expectations placed on today’s trumpeters are many and diverse. As the role of the instrument has changed over centuries, the skills required for serious performance of this instrument have accumulated.
From signals to clarino playing, from fanfares to jazz, and from Classical to Popular Music, modern trumpeters are expected to master a variety of styles and techniques, none perhaps as challenging as the extended techniques common in the 20th century.
Extended techniques, effects, and extra-musical sounds outside of the traditional technical demands of playing the instrument have become a standard component of trumpet performance. This performance project titled Thunderous Blast:
A Trumpet Recital, Examined trumpet performance as an art; a comparative study of different settings, a critical analysis of audience response to music performance on trumpet; the employment of different tonal approaches in different styles (jazz, blues, orchestra, concert, brass and popular music).
The source of information and facts employed in this work includes library, internet, interview and personal interaction among trumpeters.
The researcher also brought to bear his wealth of experience as a trumpeter and performer in reference to MUS: 328- Applied Music Coaching, in this work.
Performance trumpet repertoire were fully selected from each period in the music history: Baroque Period, Classical Period, Romantic and contemporary period. Popular and traditional melodies also formed part of the repertoires.
TABLE OF CONTENTS
Title Page – – – – – – – – – i
Certification – – – – – – – – – ii
Approval – – – – – – – – – iii
Dedication – – – – – – – – – iv
Acknowledgements – – – – – – – – v
Table of Contents – – – – – – – – vi
Abstract – – – – – – – – – viii
CHAPTER ONE: INTRODUCTION
1.1 Background of the Study – – – – – – 1
1.2 Statement of the Problem – – – – – – 2
1.3 Purpose of Study – – – – – – – 3
1.4 Significance of the Study – – – – – – 4
1.5 Scope of the Study – – – – – – – 4
1.6 Definition of Terms – – – – – – – 5
1.7 Research Questions – – – – – – – 6
1.8 Research Methodology – – – – – – 6
CHAPTER TWO: LITERATURE REVIEW
2.1 Fundamentals of Trumpet Playing – – – – – 7
2.1.2 The Two Basic Fundamentals of Trumpet playing: – – – 7
2.2 Breathing Technique – – – – – – – 8
2.3 Valves and Fingering Chart – – – – – – 9
2.4 Posture/ Holding the Trumpet – – – – – 11
2 .5 Trumpet Performance Techniques – – – – – 12
2.5.1 Articulation – – – – – – – – 13
2.5.2 Slurring – – – – – – – – 14
2.5.3 Staccato – – – – – – – – 15
2.5.4 Development of Finger Facility – – – – – 15
2.5.5 Developing the Higher Register – – – – – 16
2.6 Trumpet History – – – – – – – 18
CHAPTER THREE: RESEARCH MERHOLOGY
3.1 Research Design – – – – – – – 25
CHAPTER FOUR: ANALYSIS OF PIECES FOR THE PERFORMANCE CHARPTER FIVE: SUMMARY, CONCLUSION AND RECOMENDATION
5.1 Summary – – – – – – – – 46
5.2 Conclusion – – – – – – – – 46
5.3 Recommendations – – – – – – – 47
References
INTRODUCTION
Sonic effects in which a trumpet or brass player produced, is as the result of the sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player’s lips on the instrument. It is the direction of the air stream and the effort of the lips’ vibration on the mouthpiece that alters the tone quality on the instrument.
Thus variation of tones(thunderous, mellow), pitch ( low, mid and high), and or other sound effects (vibrato, shakes, glissando, bends, squeeze, turn, etc,) are the effort of the player who skillfully and technically gives the command on the instrument.
However, since trumpet functions in different styles; art music, orchestra, concert band, jazz band and popular music), mastering of the different approaches in trumpeting that is in line with each of the style, Makes one a good performer.
In jazz style for instance, Karlheinz Stockhausen notates the use of the wah-wah mute in his Punkte (1952/1962) in terms of transitions between open to close, using open and closed circles connected by a line (Erickson 1975 , 73).
”Although the most common method of producing wah-wah on brass instruments is with a mute, some players have used electronic filtering, notably Miles Davis on trumpet” (Kernfeld 2002 ). This can be contradicting with Smooth and mellow tone sounding of the trumpet in orchestra or concert band.
REFERENCES
Bach, Vincent. “Know Your Brasses.” Selmer Bandwagon. April , 1967 . Vol. XV, No. 1, p. ll.
Baines, A. (1993). Brass instrument and their history. O music sales Ltd.
Berliorz, H. (1844). Treatise on Modern instrumentation and Orchestral. New York: Edwin FKalmus.
Beta, P. (1978). The trumpet and trombone. London: E. Benn.
Blatter, Alfred. Instrumentation and Orchestration. 2nd ed. New York: Schirmer Books, 1997.
Brast Timeline (1999). The Meaning of Blast Instrumentation. Retrieved on 1st August 2018:enm.wikipedia .org/wiki/Blast.
Erickson, Robert (1975). Sound Structure in Music. Berkeley and Los Angeles: University of California Press.
Farkas, Phillip. The Art of Brass Playing. Bloomington, Indiana: Brass Publications , 1962.
Hal, L. (1982). Play trumpet today. Hall Leonard Corporatio International.
Haynie , John. “Brass Clinic.” The Instrumentalist. May, 1967 . Vol. XXI, No. 10, p. 63-67.
Hickman, David. Trumpet Pedagogy: A Compendium of Modern Teaching Techniques. Chandler, AZ: Hickman Music Editions, 2006.
StudentsandScholarship Team.
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