Writing for the Trumpet
This page is my guide to writing for the trumpet. If you don't play the instrument yourself, it can be difficult to know exactly what a part is going to sound like or how difficult it will be to play. However, if you are going to write for winds, you need to know what is characteristic for each instrument! I'll be showing examples, with recordings, of various aspects of trumpet playing.
Transposition
There are trumpets in various keys, which will be discussed later, but if you are writing for a wind ensemble, a marching/pep band, or a jazz ensemble, you will be writing for the B-flat trumpet. That means you write the parts transposed. Only wind instruments transpose, and not all wind instruments do, so if you are a native of any other instrument or a non-transposing wind instrument, this can often get confusing. It's not a hard as it sounds, and you can get used to it! Take a look at this example:
Concert pitch is the sound you actually hear, and written pitch is what you write on the trumpet part. Very important: notice that the key signature is also transposed. You will always write the trumpet part one major second (whole step spelled as a second) higher than you want it to sound, and that includes the key. The concert key is A-flat major, so the trumpet key is B-flat major (one whole step higher). If the piece is in D major, you will write the trumpet part in E major (E being a whole step higher than D). If you want to double-check, the B-flat trumpet will always have two fewer flats or two more sharps than concert pitch.
So, the question on your mind that everyone asks when they hear about transposition. Why bother? Why don't we just write trumpet music (and that of other transposing instruments) at concert pitch? Why the extra pain-in-the-rear step? There are two reasons, only one of which applies to the trumpet. First, it often makes the music fit better on the staff. This isn't the case for the trumpet, which only transposes a whole step. The second reason, though, is that there are trumpets in different keys. The value of transposing parts lies in the fact that, with transposing parts, every key of trumpet is played with the same set of fingerings. An A-flat on any trumpet is played with the 2nd and 3rd valves. It won't be the same note in concert pitch played on a C trumpet as on a B-flat trumpet or an E-flat trumpet, but will be fingered the same. With transposing parts, the player can use the same fingerings on every key of trumpet. If the parts were all written in concert pitch, the player would have to learn a totally different set of fingerings for each instrument.
For the rest of the page, everything will be discussed in written pitch unless otherwise specified.
So, the question on your mind that everyone asks when they hear about transposition. Why bother? Why don't we just write trumpet music (and that of other transposing instruments) at concert pitch? Why the extra pain-in-the-rear step? There are two reasons, only one of which applies to the trumpet. First, it often makes the music fit better on the staff. This isn't the case for the trumpet, which only transposes a whole step. The second reason, though, is that there are trumpets in different keys. The value of transposing parts lies in the fact that, with transposing parts, every key of trumpet is played with the same set of fingerings. An A-flat on any trumpet is played with the 2nd and 3rd valves. It won't be the same note in concert pitch played on a C trumpet as on a B-flat trumpet or an E-flat trumpet, but will be fingered the same. With transposing parts, the player can use the same fingerings on every key of trumpet. If the parts were all written in concert pitch, the player would have to learn a totally different set of fingerings for each instrument.
For the rest of the page, everything will be discussed in written pitch unless otherwise specified.
Range
As with most wind instruments, the range of the trumpet varies somewhat depending on the player's skill and level of experience. And as with every wind instrument, you the writer need to be aware of what happens in the extremes of range.
Being a high instrument, the trumpet is always written in treble clef. A quick glance at where the notes are on the staff gives you a pretty good idea how high or low it will be for the player. Anything below the staff is pretty low, anything on it in the middle range, and anything above the staff is getting into the high register.
The lowest note available on the trumpet is low F-sharp, on the third ledger line below treble clef. (Remember that it will actually SOUND as an E due to the transposition.) Take a listen to the first example. This lowest range of the trumpet isn't used very often. It's hard to play down low very soft or very loud, the fingerings are awkward (lots of 1-2-3, 1-3, and 2-3, which slow the fingers down), and other instruments (trombone, F horn, euphonium) can play those notes better. Also, the instrument simply doesn't respond that quickly on those low notes and can be hard to play with significant agility in the low register.
I hear woodwind players already saying "Trumpets only have three fingers! How can any fingering be difficult? We use NINE [or ten for bassoonists] fingers and cover ~20 keys!" Well, as someone who plays both trumpet and woodwinds at a high level, I can answer this. To move a trumpet valve, you have to move a heavy metal valve a whole inch against a strong, coiled spring. To move a woodwind key, you have to move a very light mechanism perhaps a quarter inch or less against a tiny, much lighter spring. Using your ring finger to move a brass piston valve is not that easy to do quickly, but using your ring and pinky fingers to move light woodwind keys is much easier.
I hear woodwind players already saying "Trumpets only have three fingers! How can any fingering be difficult? We use NINE [or ten for bassoonists] fingers and cover ~20 keys!" Well, as someone who plays both trumpet and woodwinds at a high level, I can answer this. To move a trumpet valve, you have to move a heavy metal valve a whole inch against a strong, coiled spring. To move a woodwind key, you have to move a very light mechanism perhaps a quarter inch or less against a tiny, much lighter spring. Using your ring finger to move a brass piston valve is not that easy to do quickly, but using your ring and pinky fingers to move light woodwind keys is much easier.
Example 2 is the trumpet's middle range. This is where a trumpet player spends most of their time. This range is comfortable for any trumpet player at an average high school level or better, and is a range where you the writer don't have much to worry about. The lower part of the range will not project quite as well as the higher part, but it will be solid and no trouble to play.
Example 3 demonstrates what I might call the trumpet's medium-high range. This range will most likely be out of reach or inconsistent for a middle school or young high school student but totally usable for a strong high school player. For a high school or younger college player, this range is likely to be uncontrollably loud and a little strained. For professional players, this range is expected to be under control and be usable in any style and at any dynamic. This range can be played with enormous volume.
Example 4 is the very high range of the trumpet. You might chance going up to the D in a classical setting with a strong player, but anything higher than that is normally only used in jazz / rock playing. These notes are usually going to be huge, barely-under-control blasts, and are not going to be easy to play under control and quietly.
You will notice, as I play the example, that the sound weakens as I play higher. E and F sound great; F# and G are kinda squeezed out and not all that powerful. Every trumpet player is going to have a different range. A lead specialist could play that G with a huge powerful sound, and could play even above that. Players with little commercial experience might become weak at any note above D. If you're going to use really high notes, be sure you know who you are writing for and what kind of range they can handle. Also, be careful about asking trumpet players about their range. We tend to be insecure about it and exaggerate.
A common mistake new writers make is to assume that the higher the trumpet goes, the bigger / better / stronger it's going to sound. While there certainly is a place for the instrument's really high range, it's the kind of thing you want to use sparingly. Lots of high notes grate on the ears after a while and are tiring to play. Also, for maximum force, it's usually the medium-high range - from roughly top line F up to about C - that players are able to gather the most enormous, beautiful-sounding volume. The highest range is more likely to be a little out of control and/or thin sounding.
You will notice, as I play the example, that the sound weakens as I play higher. E and F sound great; F# and G are kinda squeezed out and not all that powerful. Every trumpet player is going to have a different range. A lead specialist could play that G with a huge powerful sound, and could play even above that. Players with little commercial experience might become weak at any note above D. If you're going to use really high notes, be sure you know who you are writing for and what kind of range they can handle. Also, be careful about asking trumpet players about their range. We tend to be insecure about it and exaggerate.
A common mistake new writers make is to assume that the higher the trumpet goes, the bigger / better / stronger it's going to sound. While there certainly is a place for the instrument's really high range, it's the kind of thing you want to use sparingly. Lots of high notes grate on the ears after a while and are tiring to play. Also, for maximum force, it's usually the medium-high range - from roughly top line F up to about C - that players are able to gather the most enormous, beautiful-sounding volume. The highest range is more likely to be a little out of control and/or thin sounding.
Mutes
Before I discuss muting the trumpet here, this link is a homemade lecture / demonstration I made for Youtube, demonstrating and giving suggestions for various trumpet mutes:
If you don't feel like watching the video, I'll summarize. There are quite a few different kinds of trumpet mutes, about four of which are commonly called for. Before talking about each kind of mute, it is very important to understand that all mutes affect the trumpet in the following ways:
- All mutes reduce the volume of the trumpet.
- All mutes make the trumpet more difficult to play in tune.
- All mutes make both extremes of range more difficult to play.
So, why would you call for a mute? The main reason is for the interesting tone colors mutes give to the instrument. The second, less common reason is to simply reduce the volume of the instrument to keep the normally loud trumpet from dominating quieter instruments.
When you call for a mute, make sure you give the player plenty of time to put the mute in and to take it out. The player has to take the instrument off their face, pick up the mute, make sure it is all the way in the bell, then reset the instrument. 10-12 seconds should be considered the absolute minimum. Try not to request quicker mute changes than that! When players are trying to whip mutes around at breakneck speed, you are asking for bad entrances, dropped mutes, and panicking players. Watch out especially in fast tempos because a few measures of, say, a fast 2/4 might look long enough, but be over in a few seconds.
Mark a mute change by writing the mute you want just after the last passage you want unmuted. This way the trumpeter can use the rest to grab the mute. Always specify which kind of mute you want (straight, cup, Harmon, plunger, etc.) and never just write "mute". To instruct a player to remove the mute, just use the word "open" at the end of the muted part, remembering that players need the same amount of time to remove a mute as to put it in. Generally, you will not want to get more specific than that (i.e. requesting "Tom Crown copper straight mute") unless you are a trumpet specialist and writing a solo piece.
The Straight Mute is the most common kind of mute in classical ensembles and also frequently used in solo literature. It's actually not very common in jazz. The straight mute gives the trumpet a nasally, biting sound. A section using straight mutes makes a nice background to other instruments. Generally speaking, straight mutes work well for percussive figures but not as well for lyrical lines. Straight mutes come in various types, and professional players can choose a gentle sounding straight mute, a nasty, snarling straight mute, or anything in between.
The Cup Mute is quite common in jazz and fairly common in classical and solo music. The cup mute gives the trumpet a warm, muffled, pretty sound. This mute is quite nice for lyrical playing but doesn't respond all that well for rhythmic, percussive figures.
The Harmon Mute is mostly used in jazz, though classical composers are using it more in ensembles and solos for its unique tone color. The sound of the Harmon is difficult to describe but extremely distinctive. Most people think of it as the Miles Davis solo sound, though plenty of other jazz trumpeters used it as well. The sound is dry, rustly, metallic, and is difficult to recognize as a trumpet. It's a wonderfully unique tone color. However, and this is very important, the Harmon mute is the one which most changes the playing characteristics of the trumpet. Playing in a Harmon greatly reduces the trumpet's volume, high and low range, and intonation. Writers who love the Harmon's sound tend to use it too much, and in situations where it won't be heard. Be sure the texture is thin enough that the Harmon mute trumpets can be heard. Note that this mute works very well on recordings - where it can simply be turned up if it isn't loud enough - and often not quite so well live. I am in no way trying to discourage the use of the Harmon mute, which is a wonderful sound, but be smart about it.
When requesting the Harmon, always write "to Harmon mute, no stem". The mute comes with a stem, but the characteristic sound of the mute is no stem. (With the stem in, you get a whiny, corny sound that is rarely used.) Also, give the player a little extra time to get this mute in. Harmons are notorious for falling out, so most players exhale on the bell metal or lick the mute to make sure that it sticks, and that takes a few extra seconds.
In catalogues or stores, this mute is called a "wow-wow" or a "bubble" mute because Harmon is actually a brand name. Some players prefer other brands, but this type of mute is always called simply "Harmon" when talking with brass players or calling for it in parts (even when the players are, in fact, playing a different brand of mute).
The Plunger is a jazz effect. The player will actually use a small plunger (like a sink plunger), preferably one that hasn't been used on a clogged drain. It's not enough, with the plunger, to simply tell the player when to use it and when to put it down, but you need to also tell the player when you want the plunger open and closed. Using the plunger, the player will open and close it for a unique effect more or less like a wah-wah pedal on a guitar. A + over a note means closed, and an o over the note means open. You the composer / arranger must mark each note with these symbols when the plunger is in use, otherwise the player won't know what you want. A player can open the plunger while holding a note, making a "wah" sound - write "+ - o" over such a note. The reverse, an "ow" sound, can be written as well. You can write the word "wop!" over a note and the player will work the plunger to make the note sound like that syllable. Growling is also effective when using a plunger. Playing with a plunger means the player is holding the trumpet with one hand and working the plunger with the other, so be aware that some finger agility and range flexibility may be sacrificed.
In Stand is a notation you might use instead of muting. This is simply a direction for the trumpet players to point their bells directly into the music stand, and results in a quieter, somewhat muffled sound reaching the audience. Simply write "open" to have them play normally again. The effect is not as striking as muting, but the advantage of "in stand" is that a player can do it instantly. There's no need to worry about giving player time to go into or out of "in stand" because it takes a fraction of a second.
Hand over bell can be used in place of a plunger. The player can open and close their left hand over the bell like they would a plunger. The effect will be much more subtle, but the player can get to it more quickly since they don't have to pick up a plunger. However, it does take some time since the player has to rearrange their hands.
Those are the mutes you can expect professional / college trumpet players to have around all the time. Anything else, and you run the risk of the player not having one or not having it with them. Even so, a few others you might call for are:
- Bucket Mute, which gives the instrument a lovely, cottony sheen to its sound. Some buckets actually clip onto the bell and take ages to put on. Be sure the players have lots of time for this one. The bucket works by putting a bunch of soft material in front of the bell, but does not go inside the bell like most mutes, so it barely affects the instrument's technique at all.
- Solotone Mute, which was designed to give a trumpet the effect of coming out of an old scratchy Victrola machine.
- Harmon, stem in is occasionally called for. The distinctive sound works for some literature, and the player can open and close their fingers over the end of the mute for a wah-wah effect. If you want to use the fingers over the end of the mute, mark it with + (close fingers) and o (open fingers), just like with the plunger.
- Pixie Mute, a small straight mute which is usually used in conjunction with a plunger for nasty plunger solos. Most mutes are too big to be used with a plunger, but not this one.
What the Trumpet Does Well
Compared to other wind instruments, the trumpet has an enormous dynamic range. A solid player can range from fairly quiet to incredibly loud - and everything in between - with a steady, strong tone quality. Trumpets can play extremely dramatic and effective crescendos, fortepianos, sudden accents, descrescendos, and sudden dynamic changes. Other soprano-range instruments have more range and/or agility (flutes, clarinets, oboes, violins), but the trumpet is the only one with a big, powerful sound.
Trumpets are quite capable of double, triple, and flutter tonguing. Take a listen to the examples to hear what these sound like. The first few seconds features double tonguing, the next few are triple tongued, then the end is flutter tongued. Double and triple tonguing are great for fanfares and fanfare-like figures, which are always effective for the trumpet. Flutter tonguing is difficult to do quietly or on very high or low notes, but gives a nice, loud, snarling, distorted blatt.
|
Scales and arpeggios are normally no problem to play quickly on the trumpet, and intervals up to fifths are nearly always going to be just fine. Because of the difficulty of crossing range quickly, wider intervals get progressively more difficult to play quickly, especially if they are not intuitive to hear. Sixths and octaves shouldn't be much of a problem, sevenths are a little tougher due to their more dissonant nature, and intervals over an octave should used sparingly. A strong player can cross a wide leap smoothly and cleanly, and there is nothing wrong with the occasional wide leap, but too many range leaps quickly becomes awkward and uncharacteristic.
What the Trumpet Does Not Do So Well
As mentioned above, crossing a lot of range quickly is difficult on the trumpet. A passage that covers two octaves of range (whether ascending or descending) is likely to be awkward. A passage that covers a tenth should be totally fine, and anything in between becomes gradually more difficult.
Don't forget that trumpet players need rests! Unlike pianists and string players, playing the trumpet becomes tiring quickly. Now, we trumpeters are always working to increase our endurance, but be sure that the instrument is not playing every measure. Very long phrases without significant rests or with lots of high notes, lots of sustained notes, or lots of very loud playing become tiring. A tired player is going to have less dynamic control, less range, and a weaker sound. Keep that in mind.
It is difficult, on the trumpet, to make an entrance after a rest on a note above the staff, especially if the entrance has to be quiet. Higher notes will be much more accurate if the player can lead up to them.
None of these cautions is meant to say that no trumpet player can do these things well, nor that you should never, ever write them. There are always exceptions, and that's fine. But writing characteristic parts - playing to the trumpet's strengths and avoiding its weaknesses - if how you make the instrument sound good!
Don't forget that trumpet players need rests! Unlike pianists and string players, playing the trumpet becomes tiring quickly. Now, we trumpeters are always working to increase our endurance, but be sure that the instrument is not playing every measure. Very long phrases without significant rests or with lots of high notes, lots of sustained notes, or lots of very loud playing become tiring. A tired player is going to have less dynamic control, less range, and a weaker sound. Keep that in mind.
It is difficult, on the trumpet, to make an entrance after a rest on a note above the staff, especially if the entrance has to be quiet. Higher notes will be much more accurate if the player can lead up to them.
None of these cautions is meant to say that no trumpet player can do these things well, nor that you should never, ever write them. There are always exceptions, and that's fine. But writing characteristic parts - playing to the trumpet's strengths and avoiding its weaknesses - if how you make the instrument sound good!
Other effects
Above are some of the common effects you might call for, especially in jazz pieces. The first is a short fall, the second a long fall. The visual look of the fall tells the player how to play it: short and smooth or long and ragged. The third note has a doit on it: a quick upwards "fall". The last note is written with a shake - the player will do a quick lip trill from that note to the next higher note without changing the fingering. This is a nasty, blaring effect. You may want to write "shake" on the part as well, since you see that marking used for vibrato every once in a while.
Growling is often used by jazz soloists, and can be written in as well. Just write "growl" over the note(s) you want. The player hums while playing, and result is a distorted snarl coming out of the bell, a little like a milder version of the flutter tongue.
Trumpet players will normally play solo parts with some vibrato and sections parts with very little. However, you can request for certain parts to be played with however much vibrato you want. "No vib." / "senza vib.", "vib.", or "molto vib." will do the trick.
Growling is often used by jazz soloists, and can be written in as well. Just write "growl" over the note(s) you want. The player hums while playing, and result is a distorted snarl coming out of the bell, a little like a milder version of the flutter tongue.
Trumpet players will normally play solo parts with some vibrato and sections parts with very little. However, you can request for certain parts to be played with however much vibrato you want. "No vib." / "senza vib.", "vib.", or "molto vib." will do the trick.
Trumpets and trumpet-like instruments besides the B-flat trumpet
Here is a quick discussion about the other reasonably common trumpets and trumpet-like instruments. Depending on the player, they may or may not own all of these instruments. Any jazz player probably owns a flugelhorn, and any classical specialist ought to own a C and a piccolo. The cornet and E-flat are a little less often used, but many trumpeters own them too.
The C Trumpet
Classical trumpet players spend a lot of time on the C trumpet. The instrument is the standard instrument in the orchestra (at least in the US), frequently used in solo literature, and sometimes called for in high-level wind ensemble and chamber music. It is not generally used in jazz. (It's worth noting here that trumpeters often choose which instrument to use according to personal preference and not what's written on the part. It's not uncommon, for example, to have an orchestral part written for B-flat that we decide to play on C. This is why we learn to transpose on sight.) If you are writing for a college level or higher orchestra, write for the C trumpet. Writing for the C trumpet is not all that different than writing for the B-flat trumpet, the only difference being the transposition. The C trumpet is written in concert pitch. That's right: no transposing required. Write the notes you want to hear, and that's what you'll get. The C trumpet is slightly smaller and pitched a whole step higher than the B-flat. Because of that, the instrument tends to have a lighter sound, cleaner articulation, and a little more agility. The B-flat, by contrast, can produce a heavier, weightier sound and more stable volume. The difference is not enormous, but is noticeable. Like on the B-flat trumpet, the C trumpet's range extends from low (written) F# up to above the staff. High B-flat is great, C and D become more strident and difficult, and anything above that is probably best avoided. The bottom notes, down to low F#, tend to be a little clearer and respond better on the C and higher instruments than on the B-flat.
Classical trumpet players spend a lot of time on the C trumpet. The instrument is the standard instrument in the orchestra (at least in the US), frequently used in solo literature, and sometimes called for in high-level wind ensemble and chamber music. It is not generally used in jazz. (It's worth noting here that trumpeters often choose which instrument to use according to personal preference and not what's written on the part. It's not uncommon, for example, to have an orchestral part written for B-flat that we decide to play on C. This is why we learn to transpose on sight.) If you are writing for a college level or higher orchestra, write for the C trumpet. Writing for the C trumpet is not all that different than writing for the B-flat trumpet, the only difference being the transposition. The C trumpet is written in concert pitch. That's right: no transposing required. Write the notes you want to hear, and that's what you'll get. The C trumpet is slightly smaller and pitched a whole step higher than the B-flat. Because of that, the instrument tends to have a lighter sound, cleaner articulation, and a little more agility. The B-flat, by contrast, can produce a heavier, weightier sound and more stable volume. The difference is not enormous, but is noticeable. Like on the B-flat trumpet, the C trumpet's range extends from low (written) F# up to above the staff. High B-flat is great, C and D become more strident and difficult, and anything above that is probably best avoided. The bottom notes, down to low F#, tend to be a little clearer and respond better on the C and higher instruments than on the B-flat.
The Flugelhorn
Jazz trumpeters frequently double on the flugelhorn. The flugelhorn has a different history than the trumpet, evolving out of a German military bugle, but has the same technique as a trumpet and is an easy double for a trumpeter. A warm, rich, mellow sound is characteristic of the instrument, without the bright edge that the trumpet produces. The flugelhorn's beautiful sound is why it is used. It is common in jazz and occasionally called for in solo literature and band / orchestra pieces. The flugelhorn (also spelled about fifty other different ways) is a transposing instrument in B-flat, exactly the same as the B-flat trumpet. So, there's no new transposition for this instrument. The flugelhorn's rich sound blends well with other instruments, and the instrument is quite agile. Unlike the trumpet, the low range of the flugelhorn (down to written F#, just like the trumpet) is quite nice. Be aware that the flugelhorn, while it can be fairly loud like any brass instrument, can't produce the huge volume that a trumpet can. The highest range of the flugelhorn doesn't carry all that well or sound all that great, and you usually want to keep the instrument away from ledger lines above the staff. An occasional foray up to about C is fine, but generally the instrument is less effective above about top of staff G. Flugelhorn mutes exist, but no one uses them. Don't ask for a mute in a flugelhorn.
A piece might call for flugelhorn throughout, but it's also common for a chart to ask the player to switch between trumpet and flugelhorn during the piece. As with mutes, be sure the player has plenty of time to switch. The instrument that has been sitting will be cold, its mouthpiece will be cold (flugels use different mouthpieces than trumpets), and it will take the player a short time to get ready with the new instrument.
Jazz trumpeters frequently double on the flugelhorn. The flugelhorn has a different history than the trumpet, evolving out of a German military bugle, but has the same technique as a trumpet and is an easy double for a trumpeter. A warm, rich, mellow sound is characteristic of the instrument, without the bright edge that the trumpet produces. The flugelhorn's beautiful sound is why it is used. It is common in jazz and occasionally called for in solo literature and band / orchestra pieces. The flugelhorn (also spelled about fifty other different ways) is a transposing instrument in B-flat, exactly the same as the B-flat trumpet. So, there's no new transposition for this instrument. The flugelhorn's rich sound blends well with other instruments, and the instrument is quite agile. Unlike the trumpet, the low range of the flugelhorn (down to written F#, just like the trumpet) is quite nice. Be aware that the flugelhorn, while it can be fairly loud like any brass instrument, can't produce the huge volume that a trumpet can. The highest range of the flugelhorn doesn't carry all that well or sound all that great, and you usually want to keep the instrument away from ledger lines above the staff. An occasional foray up to about C is fine, but generally the instrument is less effective above about top of staff G. Flugelhorn mutes exist, but no one uses them. Don't ask for a mute in a flugelhorn.
A piece might call for flugelhorn throughout, but it's also common for a chart to ask the player to switch between trumpet and flugelhorn during the piece. As with mutes, be sure the player has plenty of time to switch. The instrument that has been sitting will be cold, its mouthpiece will be cold (flugels use different mouthpieces than trumpets), and it will take the player a short time to get ready with the new instrument.
The Piccolo Trumpet
The piccolo trumpet is the smallest trumpet, an instrument roughly half the size of a B-flat trumpet. It's actually not all that common for music to be written specifically for the piccolo trumpet: more often, trumpeters simply use the piccolo trumpet for pieces where the sound and technique of the piccolo trumpet would be appropriate, transposing the part as needed. Most commonly, we use it to play music written for the natural trumpet, like Baroque solos, which tend to stay in a high tessitura. The piccolo trumpet can be in B-flat or in A, most instruments allowing the player to play in one key or the other. See the examples for an idea of how to write the part.
The piccolo trumpet is the smallest trumpet, an instrument roughly half the size of a B-flat trumpet. It's actually not all that common for music to be written specifically for the piccolo trumpet: more often, trumpeters simply use the piccolo trumpet for pieces where the sound and technique of the piccolo trumpet would be appropriate, transposing the part as needed. Most commonly, we use it to play music written for the natural trumpet, like Baroque solos, which tend to stay in a high tessitura. The piccolo trumpet can be in B-flat or in A, most instruments allowing the player to play in one key or the other. See the examples for an idea of how to write the part.
Perhaps because the piccolo isn't written for all that often, there isn't just one standard way to write for the instrument. The piccolo trumpet is pitched a whole octave above the much more common B-flat trumpet. Sometimes piccolo parts are written in the sounding octave, and other times are written the next octave down to better reflect the instrument's overtone series. This probably makes no sense, so take a look at and listen to the example:
It is important to label the part as "Piccolo trumpet in B-flat" or "Piccolo trumpet in A". You might add a note to tell the player whether the part is written in the "sounding octave" or the "transposed octave", though it's usually obvious from simply looking at the part which octave is intended.
The range of the piccolo trumpet is not what you might think. It is NOT an instrument that can simply play an octave higher than the B-flat trumpet. In fact, the piccolo might give most players an extra third of range, and that's it. The range of the instrument is roughly from low E or F (last note of the example) up to high G (highest note of the example). The extra lower range is due to piccolo trumpets usually having a 4th valve. This is a difficult instrument to play, and players will differ on their ability and range. A piccolo specialist ought to be comfortable even higher than G, while someone inexperienced with the instrument might stall out at F or lower. You might notice that the piccolo trumpet has a limited range, more so than the other trumpets. The piccolo is used for its light, thin sound and its security on high notes. The piccolo's lovely bright, clear sound is not as powerful as the thunderous sounds that the bigger B-flat and C can produce.
The range of the piccolo trumpet is not what you might think. It is NOT an instrument that can simply play an octave higher than the B-flat trumpet. In fact, the piccolo might give most players an extra third of range, and that's it. The range of the instrument is roughly from low E or F (last note of the example) up to high G (highest note of the example). The extra lower range is due to piccolo trumpets usually having a 4th valve. This is a difficult instrument to play, and players will differ on their ability and range. A piccolo specialist ought to be comfortable even higher than G, while someone inexperienced with the instrument might stall out at F or lower. You might notice that the piccolo trumpet has a limited range, more so than the other trumpets. The piccolo is used for its light, thin sound and its security on high notes. The piccolo's lovely bright, clear sound is not as powerful as the thunderous sounds that the bigger B-flat and C can produce.
The Cornet
Cornets are unfortunately not used a whole lot anymore. This instrument has the same technique as the trumpet but has a slightly different shape, giving it a gentler, mellower sound, though not as dramatically different as the sound of the flugelhorn. The cornet is not as brilliant or as loud as the trumpet, but is extremely agile and with a lovely, pleasing sound. Traditionally, in bands, the cornet is the melody instrument while the trumpet handles the fanfare-like figures. Now, the distinction is lost because everyone just lazily plays the parts on trumpets. The cornet is in B-flat just like the trumpet, with the same range and transposition, though the very high range on the cornet (above about B-flat) is not as great as on the trumpet, while the low range sounds quite lovely.
The E-flat Trumpet
This instrument is pitched midway between the B-flat trumpet and the piccolo trumpet. Like the piccolo trumpet, music is not written for the E-flat instrument all that often, with players simply using the instrument when the key and range of the part call for it. Some symphony players like the E-flat for playing principal parts, and some classical era solos with a high tessitura like the ubiquitous Haydn concerto work well for the E-flat instrument. The E-flat trumpet is a nice balance between the extra high-range security of the piccolo and the heavier, more solid sounds of the B-flat and C.
The E-flat is pitched a fourth higher than the B-flat, but that doesn't mean that the player has a fourth more range. For this instrument, the range runs from low F# as always (some E-flats have a fourth valve, allowing a few lower notes) up to about written A or B-flat. The part is transposed, written a minor third lower than you want it to sound. See the example, and don't forget to transpose the key signature as well. Here, the concert key is G minor, so the E-flat trumpet part is written a minor third lower in E minor.
The E-flat is pitched a fourth higher than the B-flat, but that doesn't mean that the player has a fourth more range. For this instrument, the range runs from low F# as always (some E-flats have a fourth valve, allowing a few lower notes) up to about written A or B-flat. The part is transposed, written a minor third lower than you want it to sound. See the example, and don't forget to transpose the key signature as well. Here, the concert key is G minor, so the E-flat trumpet part is written a minor third lower in E minor.
Proudly powered by Weebly