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In Volume 1 of Method for Piccolo Trumpet (The Brass Press, 1980), the author presented information concerning equipment; literature selection; the various physical and mental approaches to the piccolo trumpet; and exercises on warming up, intonation and the use of the fourth valve. In addition, performance insights for the interpretation and ornamentation of Renaissance and Baroque music were broadly presented. This volume is intended to expand on many of the same elements. Included herein are representative etudes and duets selected to challenge the performer both in terms of musical interpretation and in the development of technical facility, range, intonation, and transposition.
Since there exists considerable literature for the modern day performer from the relatively familiar ltalian School of the Baroque period, the author has chosen to include musical material from the lesser known German, French, and English Schools. Without doubt, each School has its own unique style. Therefore, in his musical interpretation, the piccolo trumpet performer must study the appropriate elements of common performance practice as revealed in regional treatises, dictionaries, and instruction books written during that time. To this end, the author has chosen to freely paraphrase statements found in such sources dating from 1529 to as late as 1832. These interpreted guidelines or "hints" reveal various elements of stylistic authenticity involved in the performance of music from this 300-year period.
Special appreciation is extended to Dr. A. Loran Olsen and Dr. William Brandt, both of the Washington State University faculty; my esteemed friend and colleague, Edward H. Tarr; trumpet students Scott McQuarrie, Mathew Dalton and Gary Wright; and trumpeter David Monette for their constant musical and personal inspiration. Gerald B. Webster.
In Volume 1 of Method for Piccolo Trumpet (The Brass Press, 1980), the author presented information concerning equipment; literature selection; the various physical and mental approaches to the piccolo trumpet; and exercises on warming up, intonation and the use of the fourth valve. In addition, performance insights for the interpretation and ornamentation of Renaissance and Baroque music were broadly presented. This volume is intended to expand on many of the same elements. Included herein are representative etudes and duets selected to challenge the performer both in terms of musical interpretation and in the development of technical facility, range, intonation, and transposition.
Since there exists considerable literature for the modern day performer from the relatively familiar ltalian School of the Baroque period, the author has chosen to include musical material from the lesser known German, French, and English Schools. Without doubt, each School has its own unique style. Therefore, in his musical interpretation, the piccolo trumpet performer must study the appropriate elements of common performance practice as revealed in regional treatises, dictionaries, and instruction books written during that time. To this end, the author has chosen to freely paraphrase statements found in such sources dating from 1529 to as late as 1832. These interpreted guidelines or "hints" reveal various elements of stylistic authenticity involved in the performance of music from this 300-year period.
Special appreciation is extended to Dr. A. Loran Olsen and Dr. William Brandt, both of the Washington State University faculty; my esteemed friend and colleague, Edward H. Tarr; trumpet students Scott McQuarrie, Mathew Dalton and Gary Wright; and trumpeter David Monette for their constant musical and personal inspiration. Gerald B. Webster.
Preview: Method for Piccolo Trumpet Vol. 2
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