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Traditional trumpet changes



 
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thesplitmeister
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Joined: 31 Dec 2004
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PostPosted: Sun Jan 31, 2021 2:25 pm    Post subject: Traditional trumpet changes Reply with quote

Everyone uses whichever trumpet they’re comfiest on whether that’s Bb/C/D or Eb as a main hooter for 90% of repertoire and for my money who cares as long as it sounds good. However, there are times when we all collectively make a decision to change the part for the common good. For example the Samuel Goldberg&Schmuyle in Pictures is very often played on picc even though the master orchestrator Ravel wrote it on a C trumpet part.
Can people think of other examples where a change of trumpet is (almost always) a universal decision that’s not inherently written on the part.[/url]
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RETrumpet
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PostPosted: Sun Jan 31, 2021 3:22 pm    Post subject: Reply with quote

The alto trumpet part in Rite of Spring is almost always done on bass unless you have a very rare Eb alto with a low D transposing valve. The upper part is written for D and is often done on picc in A.

A lot of orchestral rep is done on C, regardless of the key. Mahler parts are often in F, etc. Except in England, then its Bb.

Going the other way, the D trumpet part in the West Side Story is usually played either Bb or C (Whatever the player is using for the rest of the piece).

Going for the right character is important IMO and is why transposing is such a vital skill.

Edit: Everything for "Trumpet in A" (eg: Tchaikovsky 5)
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tuningbell470
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PostPosted: Mon Feb 15, 2021 1:46 pm    Post subject: Reply with quote

I'm guessing the OP is referring to times when we might stray from our usual Bb/C rather than something like baroque stuff where piccolos are generally used?

A few that I can think of are:

Bartok concerto for orchestra (movement 5 from bar 201). In the UK you sometimes see the Eb coming out for the opening figure at bar 39 in the first movement

Ravel piano is perhaps THE archetypal D trumpet excerpt, although is commonly done on other instruments too.

I guess kind of akin to the Samuel Goldenberg example would be Petroushka's ghost.

I've also heard people switching to piccolo for higher parts in John Adams pieces and higher parts of Bernstein's mass, although I'm not sure how widespread this practice is as some of these works are rather obscure!

Would the use of rotaries (for players who don't primarily play rotary) also come under this? I'm mostly talking about the use of these instruments on Mozart and Beethoven as this just seems to be the way it's often done.

Not sure if any of these are exactly in line with what you're talking about but I thought I'd at least offer this up to the discussion!
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Andy Del
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PostPosted: Tue Feb 16, 2021 10:32 am    Post subject: Reply with quote

There are lots of possibilities. Much may depend on where you live, studied etc. Some works (in addition to the above) I know of are:
Stravinsky Pulcinella suite - D tpt (or G picc in spots)
Bartok concerto for orchestra movt. 4 high bit - piccolo (if Bud can do this...)
Bach - C trumpet works on G piccolo
Rota - La Strada suite swing solo on Eb tpt
Many descants for carols (Wilcox settings ) on D tpt
Some Strauss tone poems on (big) D tpt

The list can be as long as you like if the horn makes a suitable sound.

Cheers
Andy
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